Repose (1895). John White Alexander (American, 1856-1915). Oil on canvas.
There are some similarities to the work, also titled Repose (1895), at the Met. Both are studies of female figures gracefully posed. In this work, the sitter looks away while reading her book. In the Met work, Alexander depicts a provocative facial expression. In both, there are supple curves reflecting the contemporary French taste for sensual images of women.
Do you have any swearing headcanons? Like how much they swear, how badly they swear, what they say the most, ect?
Hohohoho fuck me up.
Honestly I am so southern because I had to go back and take out every time I wrote “cuss words” like bless my heart
I’m sure that among all of them, they let out the occasional swear, but naturally due to social restrictions on more provocative outbursts of expression, they’re all pretty reserved. Like, I can only imagine Hani letting out a few Dammit’s and a healthy amount of usage of the word ‘Hell’ but besides that? Nah.
With that being said…
Kyouya probably curses the most. Like, come on. Yes, he’s the ‘Cool’ type, but outside of Host Club and familial obligations, let’s be real; he curses all the time. And the really funny thing about it is that he’s still so posh when he does it. It’s crazy. And I really have to feel Kyouya out sometimes when I’m writing him because we all picture him as dark and he is sometimes, but overall, he is well intentioned when his motives aren’t rooted in self interest. He’s hella dynamic, and has more layers than just being “Mom” and the Low Blood Pressure Lord.
His favourite curse would probably be fuck, just because it rolls off of his tongue so well. And he says it at least twice an hour, if I’m being lenient. I really think Kyouya wouldn’t be too reserved with words when he’s older, but he would be careful because he has a carefully constructed image to protect. Like, yeah, he’s not going to use expletives around potential clientele and customers. But when it comes to his board and other supervisors, fuck them.
“Are you trying to fuck me, Hatori?”
“I don’t like being fucked, alright?”
Mori is another really confusing one for me too because I’m just like??? I feel like he’s the guy out of all of the hosts that tries his hardest not to swear. Maybe after a long day of Kendo he would be willing to let out a very tired and well deserved “damn”. I think the only time Mori would use an expletive is when he was probably, like, explosively upset? And we as a fandom don’t really have an idea of what that looks like because Mori was given the shitty schtick when it comes to actual character development. We’ve seen him sad, but an angry Mori? Unf like what an actual fucking factual turn on. His favourite curse word would probably be “hell” just because it’s so easily able to be used in confusing situations. What the hell???
Do I even need to do Hikaru and Kaoru? Like, really? Contrary to popular belief, fuck isn’t the word that soothes the swearing palate of these two; it’s cunt. They love it simply for the fact that it’s so garish, and it’s shared commonality amongst them. Because they are cunts. They’re huge fucking cunts. It’s insulting and demeaning and it strips away all of your personality and it kind of makes you feel like you don’t have any agency over yourself, huh? That’s why the love the word. It gives them the reins over the conversation because once it’s used, whether in private, among a group of people, or directed at a certain person, they know it feels HELLA good.
Tamaki is honestly such a bitch.
And I LIVE for it. He’s still very much a prince and chooses to carry himself around like one but has that stopped him from feeling needy? No. Has that stopped him from insulting those around him? No. Does doing those things make him a bad person? No. But do they help this characterisation?
I’m having a hard time between deining Tama with either ‘shit’ or ‘fuck’ because I think that he has such a demanding personality. He’s hard to categorise! I want to say that he’s more of a shit person because he’s literally always landing himself in deep shit in one way or another. Baby boy is so sweet and well intentioned when it comes to everyone and especially so when he’s with his friends. And because of that, he doesn’t really curse at anyone except primarily the Hitachiin twins.
Tbh I can’t read that boy that well anymore.
And for Haruhi is just a ‘fuck’ kind of girl, through and through. It’s not even up for discussion. Unless it’s work or school, Haruhi is not about to put in extra effort into demeaning someone or something she doesn’t care about.
Disclaimer: I do not own any of the Star Wars characters or some of the dialogue.
Han’s lips. Everything about them enamored Luke; the way they moved when he talked and the way they looked in general, but what he loved the most was the way the corners of Han’s lips would pull back into a sly smirk.
Every time Han would tell a story or make another futile attempt at flirting with the princess, those gorgeous lips would form the most provocative expression he’d ever laid eyes on. First in the cantina on Tatooine and for a second time as they sat together in the cockpit, Han proposing his “future” with Leia.
“No!” Luke blurted out in response. Slightly taken aback by the younger man’s outburst, that damn smirk started crawling up onto Han’s face and Luke couldn’t help but stare at his lips for a little too long.
“Take a picture, it’ll last longer,” Han said, smirk still present on his lips as he stared out into the stars. Flustered, Luke looked away as fast as he could, nearly giving himself whiplash.
“There’s no need to be embarrassed for staring, kid. I get it a lot,” Han flattered himself as Luke was trying to will himself into oblivion.
Luke was upset. No, not just upset. He was distressed.
It wasn’t because he was about to attempt to destroy the Death Star and possibly get himself killed in the process, though that would be more sensible. It was because of Han Solo, the man in front of him who was packing his ship to leave them all behind.
“So, you got your reward and you’re just leaving?” Luke asked, his anger and frustration creeping into the tone of his voice.
“That’s right,” Han sounded indifferent, not knowing the situation Luke was in, “I’ve got some debts to pay with this stuff.” Luke huffed at that statement. “Why don’t you come with us? You’re pretty good in a fight, we could use you.”
At any other time, Luke would’ve said yes in a heartbeat but now he finally found a place where he was needed for something other than farming water.
“These people need a good pilot like you and you’re turning your back on them, on me,” That last part slipped out before he could stop it, but he may as well say it before Han left for good, “I need you out there, Han. Please.”
Han stared Luke directly in the eyes, analyzing and choosing his next set of words carefully, “This is suicide, Luke. Even if I do stay, we’ll all probably get killed anyhow and this whole thing will be pointless.”
Stubborn bastard. Luke nearly tried to convince him again before he decided it wasn’t worth it, “Fine, I’m not going to argue with you anymore. Take care of yourself, Han, I guess that’s what your best at,” He retorted and began walking away, slowly realizing he might never see that man or his smirks again.
“Hey, Luke,” He heard from behind him, turning to see what the older man wanted.
And there it was. That goddamn smirk again. Something inside Luke was burning, all of the frustration and attraction towards this man was making him think about the what ifs. What if he didn’t make it out of the fight? What if Han really left? What if he didn’t get to tell Han how that stupid smirk made him feel?
“May the force be with you,” Han said. This was Luke’s last chance and he’d be damned if he didn’t take advantage of it. Luke made quick strides towards the taller man and was soon in front of him.
Heart thumping loudly in his ears, the younger man placed his hands on the sides of Han’s face and brought his lips down to make gentle but quick contact with his own.
“You too, Han,” Luke said after breaking the brief kiss, walking away as quickly as could to not only get to his X-Wing on time but to also avoid any comments from the smuggler.
Victory was sweet. Han coming back to help them was even sweeter.
After climbing down from his X-Wing in the midst of bountiful praise and hugging Leia, he heard a familiar voice shout his name with similar joy to everyone else.
Throwing himself into Han’s strong arms, he cheered, “I knew you’d come back, I just knew it!”
“Did you think I’d let you take all the credit?” He responded, sheer joy written all over his face as he still hung onto Luke.
There was much rejoicing, even after finding a beaten and battered R2D2. There were celebrations going on for hours, people drinking and dancing. Luckily for Luke, he finally managed to get away from the crowds and to an empty corner of the base to get some time to himself, faintly hoping he would get a chance to talk to Han. The young man sat on the ground and closed his eyes for a moment with a heavy sigh.
“Finally caught a break, kid?” Speak of the devil. Luke opened his eyes to see the older man standing in front of him, slowly moving to sit down next to him.
“Yeah, thank god. It was getting stuffy in there with all those people,” He replied and after a long pause said, “Thanks for coming back, Han.”
“Don’t mention it,” Han responded, “I couldn’t just leave when I had some questions to ask.”
“Like what?” Luke asked and looked away, knowing well what he was implying.
“Why’d you kiss me?” The question Luke had been silently dreading since he got over the high of victory.
“Well, uh,” He scratched the back of his neck, trying to relieve some of the tension within himself. After a short pause, he answered, “I just, um, didn’t know if I’d ever see you again. So I wanted to let you know how I felt, just in case something happened.”
There was a long silence between the two men and it made Luke increasingly uncomfortable. All that was going through his mind was that he made the biggest mistake he’d ever made, that he screwed up something great.
“I’m sorry, Han. It was a mistake-” He stammered hurriedly as he stood from his spot and attempted to walk away from Han, but stopped when he felt a large, warm hand wrap around his wrist.
“Don’t go, Luke,” He sounded mildly desperate and when the younger man looked back, there was something in Han’s eyes that he hadn’t seen before; something that was along the lines of affection, “Don’t run away again before I get to say or do anything.”
The two stood in that lonely corner of the room, looking into each other and trying to read each other before anything was said or done. Han’s hands rose to lightly caress the sides of Luke’s face and soon the seemingly long distance between the two came down to just a few millimeters. After a small pause, blue eyes met brown and in the next moment those two pairs of lips were gently touching once again.
Luke was on fire the entire time, drawing him in little by little to deepen and savor the moment as Han threaded his fingers through Luke’s blond locks. Finally coming up for air, the two just sort of stared at each other. And there is was once again. That damn smirk.
(A/N: Sorry if this is really shitty, it was all I could think of. If you enjoyed it, thanks for reading!)
Yuri on Ice interview translation - Pash! 2016/12 (p13)
Interviews from December Pash! are not over yet. This time I bring you a short interview with character designer & chief animation director Tadashi Hiramatsu that was on page 13.
***If you wish to share this translation please do it by reblogging or posting a link to it*** ***Re-translating into other languages is ok but please mention that this post is the source***
Character designer & chief animation director Tadashi Hiramatsu comment In this anime Tadashi Hiramatsu is in charge of the character designs and, for the first time in his life, he is also the chief animation director. We have asked him about his exchanges with director Sayo Yamamoto and Mitsurou Kubo-san, and about what he feels from the point of view of a chief animation director. —Could you tell us how you got involved with this anime?
I have previously worked with director Sayo Yamamoto to help with the key animation of the opening for “LUPIN the Third -Mine Fujiko to iu Onna” (2012) and the ending for “Shingeki no Kyojin” (2013). I am used to being asked to draw “cute girls”, but this time I was asked whether I would be interested in drawing “beautiful boys”. Since it was an unusual request, they got me curious. Knowing that director Yamamoto’s style is to always bring out provocative ways of expression in her works, I was hopeful that she’d come up with something interesting even with the theme of figure skating. —Did you feel anything new in your first time as the chief animation director?
The chief animation director is the one who superintends all episodes, therefore their job is to think about the flow of the story and enliven it. Until now it was common for me to entrust each episode to episode and animation directors that I’m familiar with, but this time I’m working with lots of people that I meet for the first time, so it’s quite stimulating. —What kind of requests did you receive from director Yamamoto and Kubo-san?
“Asses”. And they also gave me directions regarding the proper posture of a skater. I realized that there is an interesting gap between the graceful impression that you have of skaters and their actually well-trained bodies. From my side, I don’t remember advancing any suggestions vocally. Most of the discussion happened through the exchange of drawings. —What did you think when you first saw Kubo-san’s original character plans?
Because of her existing works, I remembered Kubo-san for her comical touch, but her designs for this anime were very elegant, so in a way I was a little surprised. I was especially impressed by Yuuri. Among so many athletes who “love themselves”, he has no confidence and always looks somewhat dim, so the way he completely transforms when he’s on the rink was intriguing. —Did you have any difficulty translating the character plans into drawings for animation?
Normally, character designs for anime tend to give importance to the physical appearance, but in Kubo-san’s sketches, beside the appearance, lots of importance was given to facial expressions and gestures, in other words details that come from the inside of the characters, and that is actually something I’m very interested in too, so it was easy for me to draw them.
—Is there anything you have found difficult when working for this anime?
Until now I’ve been involved in a few extravagant shows, so compared to that I found everyday life scenes very standard… very ordinary, in a way, so I’m actually having a good time. Regarding the figure skating scenes, the “raw gems” created by the staff in charge of the figure skating animation (Eiji) Abiko-san and (Junpei) Tatenaka-san are fantastic, and I was very careful to polish them up without ruining them.
—Who is your favorite character?
Otabek (Altin). I like that he’s difficult to understand.
—Is there a scene you are particularly attached to?
Choosing from episode 1, I would say the recollection scenes. I paid attention to portray Yuuri and the others as cute when they are children, and to draw Vicchan like a puppy should look.
—Please tell us an anecdote about the animation studio.
You often feel like eating katsudon. —Kindly leave a message for the readers!
I hope that people who are going through hardships and have lost confidence in themselves, and people who are hesitant to take a step forward because they cannot see what lies ahead, will enjoy this series.
SEX…..something nobody should have to be ashamed for. Something….trough negotiable without prejudice, being discutable to satisfactorily outcome between two lovers or kindred spirits. SEX…from foreplay in mind and body into a breathtaking apotheose. Still feeling the intense sensation of his masculinity deep inside you after three days…with a big smile. I really…really love to be a sex object for (older) men. A submissive fucktoy, serving for his ultimate pleasure…enjoying every moment through complete surrendering and dedication for his beautyful cock. Being fucked in many positions and different angles. That magical moment my lips wrapped around a cock…slowly deeper and deeper…pure poetry. And the taste…..so yummy…so expressive provocative…mmmmmmmmm. i love sucking cock…no boundries into a happy ending.
All in the video, thing I want to say is they have done this licking for months, always just the 2 of them… Eyeing each other through the front camera, then start to have sexy/provocative expressions (eyes, lips…), especially is Jeon (not baby) Jungkook -_- literally only them!
Sometimes he wonders when days spent in isolation became more of a blessing than nights spent with a woman he loves. He wonders how he feels more at ease in the company of criminals than with friends. Why does he feel anxious in a safe place, but strong in an environment of toxicity? It’s been about two years—he doesn’t want to believe he’s dissociated from himself in such a short time. He doesn’t want to think anything could affect him so harshly.
If he felt more than apathy, he would laugh. Loath as he is to admit it, he stopped being himself a long time ago. At some time between a gunshot and the unit sergeant’s overview of the penitentiary’s rules and regulations, he stopped being Aomine.
Whether that’s good or not, Aomine doesn’t know (but it’s saved him some heartache; it’s kept the pain of reality at bay).
There aren’t many people that Kise hasn’t been able to understand and exploit right off, but Aomine—Aomine is something else. From the beginning, Aomine has been dominance and control; he’s a series of misconstrued rumors, a shadow threatening to pull him into the dark. That a man can be so intense fascinates him. Aomine can scare Kise; Aomine can make Kise want to back down; Aomine can challenge him.
While playing with him would be fun in the short-term, he’s a hindrance to Kise in the long-term. Given his intense singular focus, Kise doesn’t have the time.
With Drake and Jack White set to grab the headliner attention at Coachella 2015, Billboard’s latest cover turns the spotlight onto a trio of up-and-comers making their mark on this year’s fest.
Hozier, Father John Misty, and Alabama Shakes frontwoman Brittany Howard have all earned critical acclaim for their musicianship onstage and in the studio, but we bet you wouldn’t expect one of them to liken him or herself to “a pedophile at a wizard wedding.”
Yet there’s a common thread running through these performers – one of teenaged rebellion turned into lucid, provocative adult expression. Did you ever realize what a sexual song “Take Me to Church” is? Maybe not. But what might seem like polite folk and soul-rock at Coachella 2015 has an edge to it. Here’s how it came out in the new Billboard cover story, on sale Friday, March 27.
1. They all left more ordinary pursuits to chase the music they wanted to make.
Howard grew up a tall (now 5 feet, 10 inches), biracial (her father is black, her mom is white) girl in a small Alabama town who felt like she didn’t quite fit in until she met future Alabama Shakes bandmate Zac Cockrell and bonded over Led Zeppelin and the Ramones. Before the band took off, she labored through 12-hour days at an Athens, Ala., post office, praying for a chance to quit.
Coming of age in his native Ireland, Hozier frontman Andrew Hozier-Byrne planned on becoming a shrink if his career in music didn’t pan out. “I was a pretty well-behaved kid, much to my regret,” he says of his rule-abiding younger days. “I realized I’d rather not please people and not loathe every minute of existence… So I turned away from all that and started doing what I wanted to do: music.”
And before taking on the Father John Misty persona, Josh Tillman had been a rock star, albeit from behind the drum kit of a very tame rock band, Fleet Foxes. Now, he describes himself as a “spiritually constipated” individual who dresses “like a pedophile at a wizard wedding.”
2. Father John Misty is into 19th-century philosophers…and perversion.
Speaking with Billboard, Tillman slipped into his Misty persona and opined, “The function of art is very different from the function of some kind of Hegelian prescription for decent civilian living.” In case you were wondering, “Hegelian” refers to the teachings of philosopher G. W. F. Hegel, who taught that all of reality can be expressed rationally.
“I’m not creating an instruction manual for decency,” he explains. “I’m trying my best to give some oxygen to my own experiences, good or bad.”
And how’s the tour been going? “People are responding to me as they would a pervert on the bus,” he declares.
3. And Misty and Hozier have got some unique ways of singing about sex.
Father John Misty’s 2015 sophomore album I Love You, Honeybear was inspired by Tillman’s relationship with his wife, Emma. But in the deranged world of Father John Misty, no detail is too dirty. “I will totally admit that there are disgusting things on this album,” he says. “I mean, calling Emma a blowup doll, from a social perspective, is fairly heinous. But you have to believe me – that song is just about major confusion and hypocrisy. Those are just the kinds of compliments that a jealous, impotent man has to offer.”
Meanwhile, Hozier’s surprise hit “Take Me to Church” topped website xoJane’s 2015 sex-song playlist, as it used Catholic language to intensely describe sex through the frontman’s powerful vocal delivery.
4. Making their Coachella debut is a little intimidating.
“I’d made a conscious decision to make music for a much smaller audience,” admits Hozier. “I did not think it would resonate with mainstream culture.” And now the singer – who recorded the vocals for “Take Me to Church” in his attic – is a much-buzzed-about act at Coachella, which he calls “one of the big mother” festivals.
For Howard, making her Coachella debut with bandmates Heath Fogg (guitar), Zac Cockrell (bass) and Steve Johnson (drums) is a bit staggering. “Sometimes I don’t know what to say to 100,000 people at once,” she says, “but it sure is cool to look at them.”
Read the full Billboard story when it’s out Friday, March 27.