anonymous asked:

You really do work fast omg! Could you do the courtesan question for sinbad, hakuyuu, hakuren, and lo'lo?

Original post here.


  • Sinbad couldn’t care less about their status and launches the courtship that would be know as the romance of the century. He makes a big show of romancing them, pulling out all the stops—flowers, fine clothes, jewelry, and especially public declarations of affection.

Ren Hakuyuu

  • Hakuyuu buys time with them, all their time. He books them solid, telling them they are welcome to do as they please, but if they would like to spend time with him—well he certainly wouldn’t protest.

Ren Hakuren

  • Hakuren usually doesn’t have any problem making the first move, but when he thinks about how much experience his crush has with romance, he gets butterflies in his stomach. He blushes, stutters, and fumbles about, usually knocking things over at the most inopportune times.


  • Lo’lo visits them at work everyday. Hanging around, he’ll joke lightheartedly about taking them out to show them a little real romance. He watches their body language carefully, hoping to see some kind of positive reaction, some sign that they might want to go out with him.
Lose your heads for Sleepy Hollow star Tom Mison!

With Sleepy Hollow‘s third season ending with such a shocking finale earlier this month, we’re sure that fans of the popular Fox show will be itching to meet Comic Con’s latest guest – none other than the show’s lead actor, Tom Mison.

Surrey-born Mison plays protagonist Ichabod Crane in the horror-tinged supernatural series, which is inspired by Washington Irving’s famous Headless Horseman short story The Legend of Sleepy Hollow. 

The show sees Revolutionary War soldier Crane resurrected in 21st Century New York state, and once again pitted against his old noggin-challenged adversary, played by fellow Brit Neil Jackson …not to mention new threats such as the mysterious Pandora (Shannyn Sossamon).

As well as taking the lead role in Sleepy Hollow, Tom Mison‘s small screen appearances include Secret Diary of a Call Girl (2007), Lost in Austen (2008) and Parade’s End (2012). He also starred alongside Ewan McGregor and Emily Blunt in 2011 British rom-com Salmon Fishing in the Yemen.

— This news story is for May 2016’s MCM London Comic Con —

Black Chronicles: Photographic Portraits 1862-1948, May 18 to December 11, 2016 | National Portrait Gallery

Long-lost photographs of black British life dating to the 19th century are going on show at the National Portrait Gallery.

Members of an African choir who performed in London for Queen Victoria in 1891, feature in the free show, which co-curator Renée Mussai hopes will counter the notion that multi-cultural Britain began with Caribbean immigration after the war. Ms Mussai, head of archive at arts charity Autograph ABP, which uncovered negatives used in the exhibition, said: “We hope to show there is a long and varied history of black people in this country, often with fascinating and complex personal stories.”


A Visual History of Women’s Emancipation

During the Belle Époque, the women who took on “men’s work” – doctors, journalists, and lawyers, but also coach drivers and postal workers – met with incredulity, hilarity, and more generally hostility. Postcards began to spread as a medium during the rise of early feminism and offer a striking representation of these reactions.

In a beautifully illustrated book in square format (22 by 22), Juliette Rennes presents and analyses 314 postcards, mostly from a personal collection, and shows the contrasting reactions that arose at the turn of the 19th century as women began to enter professional spheres that had previously been reserved for men.

After initial studies in literature, the author completed a doctorate in political science and is currently a lecturer at the EHESS. For several years now, she has conducted research on the history and sociology of gender and professions, with a particular focus on controversy surrounding demands for judicial equality. Her publications include a book based on her thesis entitled Le Mérite et la nature. Une controverse républicaine, l’accès des femmes aux professions de prestige, 1880-1940 which came out in 2007 with Fayard Press. Femmes en métier d’hommes – prefaced by Michelle Perrot, a pioneering figure in the history of women and gender [1] – exemplifies this much noted study and allows a wider public to retrace a journey of emancipation through the images analysed.

Postcards – the media of the Belle Époque

Postcards began to flourish precisely around the time that the first female higher education graduates requested access to jobs that had previously been reserved for men. Between 1900 and 1914, several hundred thousand were printed every year. At a time when press photographs were rare and of mediocre quality, these postcards were a real media form. They staged urban and rural workers in their professional activities and struggles (strikes, meetings, demonstrations, and riots) and echoed the concerns of the time. As post was collected and delivered at least three times a day in large towns and cities, these cards were also a way of passing along messages of all kinds, in all social backgrounds. The golden age of early feminism therefore corresponds to the golden age of the postcard. And this is where the relevance of Juliette Rennes’s approach lies.

During the Belle Époque, publishers created series of postcards such as “The emancipated woman” and “The woman of the future”. They were smutty and burlesque in tone and presented military women of all ranks, rural guards, mistresses of arms, journalists, and deputies. They were either big bosomed and squeezed into uniforms that were ill suited to their shape or wore alluring clothes in stark contrast with the helmets and kepis on their heads. The mismatch between their body shape and their professional attire was intended to indicate that they were not apt to hold such positions. The mischievous expressions and smiles of these emancipated women jarred with the serious nature of the duties they were supposed to embody, thus informing (and reassuring?) the postcard’s recipient that this was all nothing but a joke, a masquerade.

The difficult battle for access to prestigious professions

While women campaigning for access to the bar met with staunch opposition from the National Bar Council – which was equally hostile to foreigners and naturalized citizens – publisher Jules Royer brought out a series entitled “The female lawyer”. An actress with a small baby in tow played the role of a lawyer who had to regularly interrupt her defence speech to breastfeed, change a nappy, and calm down her progeny. Curly, untamed locks escaped from beneath her cap reinforcing the idea that women were irremediably positioned on the side of nature and not culture, and could not be lawyers……

Continued here:-


When in the 21st century did wearing a skirt that showed off your knees (like above) become “showing too much” and “exposing oneself”?

I’m assuming since the moment we realized that even wearing a skirt that long (about as long as or longer than the shorts men get away with wearing without comment) STILL elicits sexual attention from disgusting, predatory older men.

Say we do collectively extend the skirt a few more inches—what’s your response when the comments and inappropriate behavior from men towards our young women doesn’t stop? Will you assume girls are still exposing themselves too much, and that we must protect these men from their impulses by making the skirts still longer?

And then the next time, when that too fails because research has shown there is no strong correlation between what a woman wears and likelihood of rape, sexual assault, or sexual harassment. What then?

At what point will you realize that nothing will stop them, so instead of policing our young girls, we need to stop accepting and condoning this behavior from men and start policing them.

If my daughter gets inappropriate comments from older men, I will not tell her to cover her skin. I will beat the shit out of the men who made such comments.

And flat the fuck out: the other option is wrong. If you disagree please unfollow me.


Imagining Shakespeare

These early-19th-century watercolors show dramatic settings for Shakespeare plays imagined by Joseph Michael Gandy, an English architect and architectural renderer. 

The (fully digitized) portfolio is also packed with designs for plays by Aeschylus, Sophocles, Euripides, Dante, and Milton, as well as the epic poetry of Ossian, aka James Macpherson.

Shakespeare died 400 years ago, on April 23, 1616.

Richard II (Act 1, Scene 1); Antony and Cleopatra (Act 1, Scene 1); Coriolanus (Act 4, Scenes 4 and 5), Joseph Michael Gandy, about 1820. The Getty Research Institute, 910083*


Photos from the “pilot” episode of Ultraman, “Birth of Ultraman” (1966). The production took the form of a live stage show, introducing the character of Ultraman himself as well as the Science Patrol team members. It would also begin the half-century tradition of regular Ultraman live stage shows.

The entire event can be watched (minus subtitles) here.


The Gallery of Maps, commissioned by Pope Gregory XIII in the late sixteenth century for the Vatican Palace, once again shows off the topography of Italy in all its brilliant color. After a four-year conservation campaign, the forty maps, each measuring over fifteen feet square, will now vie for visitors’ attention as they head toward the Sistine Chapel. Liam Moloney reports in the Wall Street Journal.

Posted by Anne Leader

Details of Venice with St. Mark’s Square and islands in front. PHOTO: VATICAN MUSEUM

The Gallery of Maps at the Vatican PHOTO: VATICAN MUSEUMS

Map of Italy, Corsica, and Sardinia, 1580-83, fresco, Gallery of Maps, Vatican Palace. Photo: Jean-Pol Grandmont

Yale to present ‘An Open Conversation and Master Class with Ali Stroker, Broadway Trailblazer’

The class will include a conversation and Q&A with Stroker, after which she will give a performance and lead a master class with Yale performers.

Stroker recently appeared in the acclaimed revival of “Spring Awakening” on Broadway. When she was cast in the Deaf West Theater’s production, she became the first actress in a wheelchair to appear in a Broadway show. Stroker has been paralyzed from the chest down since the age of 2 when she was injured in an automobile accident. Alterations to the Brooks Atkinson Theatre were made so that Stroker could use the backstage areas of the theater. On stage, the actress used a specially constructed “period” wheel chair to fit in with the late 19th-century setting of the show. Stroker participated fully in the show’s elaborate choreography, using her chair to dart around the stage and substituting “wheelies” for some of the leaps called for in the dances. (x)