A big thanks to all war veterans who traveled to #StandingRock to support Native Americans against the Dakota Access Pipeline and corporate/government tyranny.

Thank you for your service.

jupiter-saturn aspects ♃♄

i’ve always loved how the glyphs for jupiter and saturn seemed to be inverses of each other; jupiter is lady luck, wherever it occupies comes naturally, it does not need a ton of focus on its own, but for that reason, it is lazy. putting energy toward your jupiter is how you can truly unlock its riches. saturn, on the other hand, is a looming threat. it requires great focus and is quite emotionally taxing, since it teaches you important life lessons. jupiter expands, saturn restricts. 

jupiter conjunct saturn: success seems to come slowly, but then all at once. may perceive oneself as a late-bloomer, but reap lasting gains for waiting. individuals with this placement might try to balance over-achieving with exerting the lowest possible effort, and the two playing on each other can be quite confusing and stressful. 

jupiter square/opposite saturn: grapples endlessly between the ends of optimism and pessimism, faith and dismay, ambition and skirting by. as saturn is the malefic, it can tend to hold more control of a square, necessitating the native to work hard to access jupiter’s potential rewards. i notice certain emotional shortcomings with the square, whether it be depression, anger, or other mental problems. this can be strain from these two entities battling. the square aspect embodies more of the struggle, while the opposition may embody more going back and forth between the two, embodying the extremes of each.

jupiter trine/sextile saturn: when these two planets are working well together, this may indicate a greater ability to put effort towards the future than the previously mentioned aspects. this might indicate the assistance of others in achieving your goals, like luke skywalker had obi-wan. those with this placement may not feel so strongly the limitations of time, and the fleetingness of it; rather, they may appreciate that things come in time and plan/invest accordingly.

jupiter inconjunct saturn: your greater benefic and malefic are completely at odds, indicating a vast struggle between the two archetypes. this will be exacerbated by their house placements. this can indicate a propensity for overexertion, swamping yourself with responsibilities and then realizing too late that you have bit off much more than you can chew (squares too, to an extent). this is because there can be over-confidence with this placement, a feeling of “only i can do this” in regards to a task. 

trash--universe  asked:

Back again. Because I'm having LevKen feels. Like Kenma as a third year and Kuroo is gone and Kuroo used to be the one who helped him with his panic attacks. But now Lev does it instead because he was the only one who really thought to learn how to deal with them. So when Kenma starts freaking out, Lev plops down and lets Kenma occupy his lap and hide behind his massive limbs and torso for as long as he needs. Sometimes soft kisses are involved. Just soft, supportive LevKen *throws arms in air*


Hillary Clinton may not of won the election. But, Wall street still is celebrating when Trump re-filling the swamp with of one of their own.

The revolving door between corporate and government is about to get wider under Trump

There are tons of protest movements that have won. Everyone who’s terrified of these democratically elected white nationalists being in charge of the largest military in the history of humanity, should get to know the late-90’s Serbian group, Otpor (Serbian for Resistance). When I was at Occupy LA, interviewing an activist, an Otpor handbook fell out of her backpack. For a moment, I thought Occupy was going to be successful because they had a strategy and a blueprint they just weren’t telling us about it yet. I was wrong. Otpor, through non-violent struggle ousted the tyrant Slobodan Milošević, who died in jail while on trial in The Hague for war crimes. They know how to take down monsters. They wrote a handbook. Read it.

Before he directed Breitbart News, before he directed Donald Trump’s insurgent campaign to a surprising victory in November, and before he directed the president-elect’s nascent administration as a senior adviser and consigliere, Steve Bannon directed a different kind of creative enterprise altogether. Documentary films.

Bannon—the bomb-throwing anti-establishment provocateur turned Trump whisperer—enjoyed a long and extensive dalliance with Hollywood, producing 18 films, from the 1992 Sean Penn drama “Indiana Runner” to the 1999 Anthony Hopkins Shakespeare adaptation, “Titus.” He handled distribution for the independent film company Wellspring Media. Along the way, he also racked up nine directorial credits of his own, compiling a body of work replete with red-meat conservative documentaries. His oeuvre, a set of 9 films released from 2006 to 2016, included projects capturing the rise of the Tea Party, such as 2010’s “Battle for America,” and 2012’s takedown of the Occupy movement, “Occupy Unmasked.”

If you’ve never heard of these, you’re not alone: Only four appeared to have ever enjoyed even limited releases in theaters; most went straight to video, and circulated on Amazon and local libraries to a small and presumably deeply conservative audience. One, 2012’s “District of Corruption,” which is a 70-minute commercial for the work of Judicial Watch, the conservative non-partisan watchdog group that hounded Hillary Clinton over her emails, “scored the second highest per-screen average at the box office on its opening weekend,” averaging $7,374 per theater, according to a press release from Judicial Watch. Perhaps Bannon’s best-known film, the 2011 “The Undefeated,” which follows the rise of Sarah Palin, had a budget of $1 million, according to IMDb.com, and played in at least 10 theaters. Only one of his films—the Reagan love letter “In the Face of Evil,” Bannon’s 2004 directorial debut—has been rated by Rotten Tomatoes critics, who gave it a gut-punching 11 percent. This relative obscurity is, apparently, fine with the director, who clearly aimed them at a highly motivated audience. “I don’t do things for packs,” Bannon once said of his films. “I’m an independent filmmaker.”

Read more here

“For these long trips, our private car was attached to the train; it was so comfortable that we were far better off in it while visiting our estates than we would have been in houses which had often not been lived in for years. The coach was entered by a vestibule which in summer was turned into a sort of veranda containing an aviary; the songs of the birds drowned the train’s monotonous rumble. The dining-drawing room-which would now be called a living room-was paneled in mahogany, the chairs were upholstered in green leather and the windows curtained in yellow silk, Next came my parents’ bedroom, then my brother’s and mine, both very cheerful with chintzes and light wood paneling, and then the bathroom. Several compartments reserved for friends followed our private apartments. Our staff of servants, always very numerous, occupied compartments next the kitchen at the far end of the coach. Another car fitted up in much the same way was stationed at the Russo-German frontier for our journeys abroad, but we never used it.”

-Prince Felix Youssoupoff, Lost Splendor


On January 20th, hundreds of thousands of people will be storming the streets across the US against Trump’s accelerated assault on migrants, LGBTQ people, women, unions, people of color, and the entire working class.

Now more than ever, we need massive resistance in the streets to shut down Trump’s agenda of racism, sexism, migrant-bashing, cutbacks and war. With capitalism in decline, this agenda can be a recipe for fascism.

While both the Democrats and the Republicans are telling us now to accept the results of the election and look to “work with” President Trump, we completely refuse to accept this racist billionaire as the leader of this country. Trump has no solutions for the real issues faced by billions of workers across the world.

Capitalism, imperialism and the racist cops occupying our communities are the real problem. We, the millions of people ready to take direct action against the attacks of a Trump administration, are the solution.  

Only mass action can push back this racist, sexist agenda. We are entering a new era of historic resistance, led by the struggles of Black Lives Matter and the water protectors at Standing Rock. We stand ready to put our bodies in front of deportation busses, bulldozers, tanks and other war machines. The working class and oppressed must join together in this historic moment with the full understanding that real power is in the streets, not in the White House and not the Pentagon.

Let’s show on January 20th that another world is possible. There is an alternative to racist terror, sexist oppression, homophobia, transphobia, migrant-bashing and bigotry. There is an alternative to capitalism and fascism.

On January 20th, let’s shut down DC with a historic mobilization of the people, united against Trump’s assault on the people.

Let’s fight for the revolution we really need. Now is our time to be in the streets.

We say NO to Trump, NO to Clinton, NO to capitalism, NO to war and NO to the two-party system that supports all of the above.  

On Friday, January 20th, we will make sure our collective voice is heard throughout the halls of power and across the world. Join us!


J20resist.org is a resource to assist this historic moment. It is a way for people all over the world to coordinate to push back against Trump and those who enabled his rise to power.

At J20resist.org groups and individuals can connect up, coordinate travel to DC, connect with local actions – student walk-outs, stay aways, shut downs and rallies in the U.S. and around the world.

anonymous asked:

I love how it was Aaron's idea to move out first. The final straw being caught in the shower having sex. Now, Robert wants to move out because the final straw for him is someone sitting on the bog while he's in the shower or using all his gel. The sex doesn't bother our Rob. Exhibitionist. Lol.

Well he’s too pre-occupied by the sex and the person he’s having it with to care about anyone walking in. But someone using the toilet, that’s a big no no. Do they not have a lock on that door. Although Aaron was just having a bath with the door wide open. It can’t bother them that much lol

Shadow Cities: the untold lives of squatters #11yrsago

I’ve just finished Robert Neuwirth’s “Shadow Cities: A Billion Squatters, A New Urban World,” a nonfiction account of Neuwirth’s travels through squatter cities and shanty towns on four continents.

The parallels between the squatter story and the copyfight are fascinating. Last month, I gave a talk at a Berkeley law class and one of the students pointed out that when we talk about orphan works and the problem of discovering who has the right to authorize the use of old or obscure creative works, we treat this as a major difference between “intellectual property” and real property; but in the developing world, the ownership of physical land is anything but clear-cut; where you have squatters who’ve been sold deeds to their land by unscrupulous bureaucrats in exchange for votes, or where politicos have issued deeds to their cronies selling title to land that has been occupied for decades, or squatters who are granted title to their land, but who then have to resolve whether the squatter whose home is on the ground floor gets the title, or whether it’s the squatter who’s built her dwelling on the roof; or where you have squatters who’ve built and then rented out their squats to tenants who’ve occupied them for years – who owns that land?

All real-estate begins as “squatting.” Most of the Bay Area’s title deeds represent claims filed by squatters during the gold rush. At some point, every titled parcel of land belonged to no one, but was then fenced in and declared property.

Neuwirth’s crusade in Shadow Cities is to prove that squatter cities are often better than the alternative: that many are safe, clean, and provide better housing for millions of economically marginal people than the state could provide. His evocative tours of the beehive-productive squatter cities in Brazil are very convincing – though his admission that the law-and-order of these cities derives from the iron discipline of ultraviolent drug-dealing gangsters detracts a little from the idyllic picture. There you have marginal commerce and construction that enables workers to improve their lives and the lives of their families and neighbors. Particularly heartening are his descriptions of “savings circles” organized by women to pool small sums of money in a mutual aid society, and of the tentative – but wildly successful – gestures by cable operators and power and water authorities to run professionally installed utilities to squatter homes.

As heartening as these are, Neuwirth is also careful to let us in on the problems of shantytown life. Not crime and filth (it is his thesis that shanty towns are cleaner and safer than the low-income housing that would be the alternative, and he has stats going back for centuries to back this up, including the tenement cholera epidemic in NYC that all but skipped past the squatter city in Central Park) – but corruption, boondoggles, and unintended consequences of poorly thought-through state-imposed improvements. From the donated ambulance that’s too wide to fit down the shantytown lanes to the water pipes laid but never connected and eventually dug up for scrap to the efforts to replace shanties with high-rises that end up being unaffordable to the shanty-dwellers; Neuwirth’s accounts of incompetence, venality and greed are maddening.

The question at the center of Neuwirth’s book is not whether squatting is illegal (it is, of course), but whether it should be. He’s looking to discover whether the prohibition of squatting (rather than a limited accommodation of squatting as a recognition that these people have to live somewhere) leads to more problems than it solves.

As I read it, I kept coming back to the questions I keep on asking of rightsholder organizations, questions like:

What’s the way to go from suing your customers by the thousands to turning them back into customers again?

Is it really socially beneficial to set up a world where network neutrality and privacy are sacrificed to protect your rights? Should universities really have to wiretap their whole network just to keep from being sued out of existence by you?

Does it really benefit artists to live in a world where 80 percent of recorded music isn’t available for sale because no one can figure out who owns it?

Does it benefit creation to declare remixing, mashing up, and sampling illegal? Are the people who make those works creators, too?

This is the sort of conundrum that Neuwirth is after resolving. The squatters are illegal, but what’s the alternative? Why were anti-squatting laws passed, and have they fulfilled their objectives? Neuwirth is a powerful advocate for the rationality of permitting squatting. It’s not only made me re-think my position on real property, but on “intellectual property” as well. 




Silver canopy for the Corpus Christi procession, Cusco Cathedral (Anonymous master, 1731).

Corpus Christi procession is one of the headlights of religious festivities in Cusco, dating back to colonial times, with strong ties to a precolumbian inca celebration. For this celebration, Cusco bishop Fray Bernardo Serrada ordered in 1731 the confection of this magnificent canopy, in order to display the monstrance with the holy host during the procession.

The canopy is made out of silver over a wooden frame, shaped in the form of a small tempietto, with four piers supporting a dome. The design is reminiscent of the old church of El Triunfo, located next to the Cathedral. This church -which served as parish church for the indians- was originally built in 1664 in the site where the first Cathedral stood, which in turn occupied the site of an old inca building called Sunturhuasi. The church consisted of:

“una bóveda grande o media naranja de cantería de cuatro arcos, sobre cuatro columnas, y dentro un tabernáculo hermosísimo de piedra, que constaba de cuatro facies de igual primor”

“one large vault or dome of stone with four arches over four columns, and inside a beautiful stone tabernacle, which had four faces of equal skill”.

Diego de Esquivel y Navía: “Noticias cronológicas de la gran ciudad del Cusco” (1749).

This church was entirely rebuilt between 1729 and 1732, preserving inside its walls part of the original structure, which entirely resembles the shape of the silver canopy, even to the detail of the rossettes that adorn the arches.

As was stated before, the canopy consists of four pillars supporting a dome; the shafts of these pillars are adorned  with plant-like decoration wrought in the silver, while the arches they support have small rosettes covering their surfaces. Over the entablature that rests upon the pillars stands the dome, divided into eight sections and surrounded by four pinnacles, one in each corner. The inner face of the dome and the pendentives are also adorned with plant-like decoration, while a silver pigeon hangs from the center of the dome. Beneath the dome there is a silver base used for the placement of the monstrance, with a silver pelican next to it. 

The canopy used to be carried by hand, but nowadays a small motorized vehicle is used in the procession, hidden under heavy silver baroque frontals that adorn the front and sides of the machine. After Corpus Christi mass, the archbishop places the monstrance in the canopy, which then parades around Cusco´s main square followed by the people gathered for the procession. After that, the canopy returns to the Cathedral, while the fifteen saints that came from all the parish churches in the city continue the procession.

Photos by the author, 2016.

The year of 1977 in the movies is overshadowed by one major box office transforming success, Star Wars. It is also known as the year that Woody Allen stepped away from slapstick and journeyed into more sophisticated filmmaking, enjoying both critical and Oscar success with Annie Hall, which won Best Picture. What it is not known for is the gut-kicking morality tale directed by Larisa Shepitko, The Ascent (released in the USSR in 1976, Europe and the states, 1977). Too bad, it’s the best film of the year. Hell, it may be the best film of the seventies.

THE ASCENT (’76) tells the story of a group of refugees in Nazi-occupied Belarus during the winter of 1942. They have wandered far from their homes and farms in an effort to escape the Nazis and stay alive. They engage the Nazis in a firefight in the snow and retreat into the woods. They have escaped the bullets but hunger awaits. As they sit in the snow covered forest, they devise a plan: send out two soldiers to find food and bring it back.

The Steep Emotional Climb of THE ASCENT (’76)

graviphantalia  asked:

Hey, I don't know if you have any advice for chicken raising, but I really need it. So, I used to have chickens and a neighborhood cat killed them. Now, I have new chickens, but they stay in the chicken coop 24/7. The cats always stalk them and scratch at the coop. Now they are really scared of them and are very jittery and won't trust humans. The chickens are bored from staying in the coop all the time and I want them to get some activity. How do I get the cats away and the chickens to trust me

The quickest means of worming your way into a chicken’s affections is through food. Positive association. For boredom, there are loads of toy ideas out there for keeping chickens occupied throughout the day.

As for keeping the cats away, these are some good suggestions (this page also comes with amusing illustrations!)

I was having a talk with someone last night about how you can track this anti-earth movement from that whole “green dragon of environmentalism” horse shit in the more kooky end of the literalist churches.

FWIW, this involves the Bundy fuckwits and Standing Rock and why the Bundy Fuckwits aren’t helping there, so I stuck it under a cut.

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Top photo: (from The Trolley Dodger blog): “CSL  car 1076 is southbound on Damen Avenue about to turn south on Lincoln Avenue at Irving Park Road. The route is Lincoln-Rosehill . On August 1, 1948, the CTA discontinued Lincoln-Rosehill service, while extending the North Damen bus to follow roughly the same route north of Irving Park. The white Terra-Cotta building behind car 1076 housed the North Center Theatre at 4031 N Lincoln, which opened on February 3, 1926 and closed in 1963. The building was demolished in 1966-67.”

Bottom: postcard promoting “The new modern offices of Dr. Walter H. Silge at 4001 Lincoln Ave.” Note the sign for the North Center Theatre on the left. Those of you familiar with this intersection know that a Starbucks now occupies the spot closest to the corner.

A rickshaw (‘illyokko’) is usually light, two-wheeled hooded vehicle drawn by one or more persons. Here we have a one-wheeled rickshaw, occupied by a military officer in winter outfit. The rickshaw may look less luxurious, but is possibly more comfortable to sit on than the ordinary palanquin which is hollow inside. Chungcheongbuk-Do, (South) Korea, 1904.

(Cornell University Library)

Day 2: Ornament

written for #HanniHolidays

Church is dangerous, Will’s decided. It had been a good idea of Hannibal’s, to integrate themselves into the community by becoming heavily involved with St. Andrew’s Anglican. Will can’t even deny that he’s enjoyed infiltrating the congregation, though it meant socializing. He’s even joined a committee. Besides, church keeps Hannibal occupied and gives him an acceptable social life, which means less elitist conspicuous activity, which means no Jack.

Even better, the little old ladies of the decoration committee are fond of good coffee, better pastries, and morning mimosas. They dote on him, too, the lone male of the species among them, perfectly content to let him hold the ladder or fetch boxes or lift all the heavy things. His shoulder hates it, but they’re adorable, so he doesn’t especially care.

They had been suspicious of him for exactly five minutes. “I’m here to learn,” Will had said. “My idea of decorating is tackle boxes and ceramic dog figurines.” After that, the decoration committee had happily welcomed him into the fold, declaring that he reminded them of their husbands, and how wonderful it would’ve been if their menfolk had been so interested in learning, and then Will had spent meetings smiling and nodding and tuning them out.

Mostly, anyway.

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