which was late october

Hey guys, so our next event coming up is Snape Lives Week which will be taking place from 1st October to 7th October (late submissions always accepted).

What is Snape Lives Week? It’s an au week of sorts focusing on what would happen if Snape survived the Battle of Hogwarts. For example: How did he survive? What would he do with his life afterwards? Does he go back to teaching or does he turn his back on Hogwarts to go live his own life away from the school? The options are limitless but must be Snape-centric.

What kinds of content are we looking for?
Anything! We’ll accept: Gifsets, moodboards, graphics, videos, playlists, fan fiction, drabbles, headcanons (serious or non serious), fan art, silly text posts, etc. Whatever you come up with we would love to see, so try not to get hung up on whether it’s good or not, the point is to just show your appreciation for Severus Snape! Have fun with it!

Also, be sure to include the tag snapeloveposts within the first 5 tags of your post so that they’re all collected in one place for everyone to see. And if you won’t be around for that week you can queue your posts in advance or submit posts later in the month.

Check out our F.A.Q. page if you have any questions and if your question isn’t on there feel free to send us a message. As always, have fun and we look forward to seeing what you all come up with! :)

6

A day in the life: Christopher Jackson, from ‘Bull’ to Broadway’s 'Hamilton’ (USA Today):

Sunday marks his last performance in the musical, which opened off Broadway in February 2015.  But on a late-October Friday, USA TODAY followed him on one of his last really busy days. At home in a Westchester County suburb, his son C.J., 11, left his lunch at home, while daughter Jadelyn, 7, forgot her eyeglasses. So dad and mom, singer Veronica Vazquez-Jackson, made separate trips to provide them. Around 9:30, he arrived at Bull’s Brooklyn studio and went into makeup for his scene with guest star Yara Martinez (Jane the Virgin).

[…]

11:28 a.m.: Jackson wraps the scene and heads to his dressing room. “Once we’re done with a scene, it’s gone.” Shooting television, “the camera is the only audience that you really have, and five weeks later you see what really came about.”

With Hamilton fame fueling interest, he auditioned for several pilots last spring, and Bull was among the last.  Through prior arrangement, his scenes on Hamilton days are scheduled for mornings.  "Most often when you’re on a TV show they need to have all of you,“ he says, but "they get how important it is for me to finish out my run. I’ve joked for years I want to land a TV show so I can finance my theater habit.”

Now that Hamilton has taught him how to say goodbye, “We get more Chris Jackson, which we love,” says Weatherly, adding his role will expand. “Sorry for all the Hamilton fans who don’t get to see him as George Washington.”

1:44 p.m.: In jeans, a cap, Air Jordans and a navy coat, he leaves the studio for a few hours of midday rest at home. Sometimes he hits the gym, or he’ll catch up on scripts before heading south to Broadway’s Richard Rodgers Theater.

6:15 p.m.: He arrives at Hamilton for an 8 p.m. performance, one of five he typically does each week (others are performed by Nicholas Christopher, who will take over the role permanently on Nov. 15). Jackson is one of a few remaining original stars of the smash musical;  co-stars Daveed Diggs, Leslie Odom Jr., and Lin-Manuel Miranda, left in July. “Chris is one of the hardest-working people I know, and so if anyone can make (double duty) work, that’s him. I’m excited that the show has found its success. That’s my buddy,” says Miranda, who also teamed up with him on Broadways’s In the Heights in 2008 and Moana, the animated Disney film out Nov. 23, for which Jackson sings an opening tune.

6:50 p.m.: “Hamilton is as hard a job as anything I’ve ever done,” Jackson says. “It’s equally rewarding, but it’s very taxing. It’s just so hard physically and emotionally to do it, and it just empties you out.” And by late September, juggling the two jobs left him feeling he was “done,” in part due to his kids: The workload  "guaranteed that I wouldn’t have a day off.  After about a month, I was like, that’s going to be a problem. I needed to be with my kids and my wife.“

7:05 p.m.:  Network TV scripts change each week, 22 times a year. Hamilton’s stays the same. But that doesn’t make it any easier, he says, likening it to a baseball player’s swing. "The inner workings of that swing, the angles, the speed, the tempo is completely different every single time you pick up the bat.”

8:15: The lights go down, and Hamilton goes up. Jackson makes his entrance in Act One’s opening song, “Alexander Hamilton.” The crowd in the 1,300-seat theater roars with approval. Did anyone anticipate such success when rehearsals began two years ago? “Lin didn’t; nobody did,” he says. “If they tell you that, they’re lying.” But neither did they fret over a potential flop: “It didn’t feel like a flyer; it was too smart for that.”

11:28 p.m.: After greeting friends onstage after the performance, Jackson changes back into his jeans and exits the stage door to greet autograph-seeking fans, an enraptured group filled with emotional kids and teenagers.  "I would characterize them as enthusiastic,“ he says. The sessions "remind me of a revival experience.”

One earnest young woman on the line sums it up best as Jackson reaches her spot: “Thank you for giving me the feels.”

2

On February 18, 1993 Steven Robards fell ill and started throwing up after eating Mexican food with his daughter, Marie Robards, who was living with him in his apartment. When Robards began to feel worse, Marie went to her father’s neighbor and girlfriend, Sandra Hudgins, who checked on him with Marie. Before the ambulance arrived, Robards was dead. The autopsy revealed that the cause of death was a heart attack. However, there was something strange behind the sudden death of Robards. Almost one year later in January, 1994, Marie Robards, who now lived with her Grandparents, was studying William Shakespeare’s “Hamlet with Stacey High, one of her closest friends at school. When reading Claudius’ soliloquy in Act 3 Scene 3, Marie became nervous, especially at the part High performed:
My fault is past. But, O, what form of prayer
Can serve my turn? ‘Forgive me my foul murder’?
That cannot be; since I am still possess’d
Of those effects for which I did the murder

At that point, Marie broke down in tears and confessed to High that she had poisoned her father with barium and begged her to keep her crime secret, which she did at first. In late October of 1994, however, High told her mother and the police about Marie’s crime. When arrested, Marie quickly confessed to the murder and stated that she couldn’t cope with her parents divorce. Marie’s mother, Beth Burroughs, urged her to live with his father because Marie didn’t get along with her new husband. Whenever Marie reached out to her mother she pushed her away. Marie thought that poisoning her father would somehow reunite her with Burroughs. She stated that she had stolen barium in a science lab at school and put it into her fathers food. On May 9, 1996, Marie Robards was sentenced to 27 years in prison. She was paroled In 2003 after serving 7 years and now goes by a new identity.

2

 Alright, so my old commission post basically got nuked because of my name change, so here’s the new deal: Commissions are open until the semester starts kicking my ass, which is maybe late September or the beginning of October. 

Won’t do: 

-Furries

-Mechas

-Explicit nsfw (Suggestive stuff is okay for now, but pornography won’t be open for a while)

-A few select fandoms (VERY few)

Will do:

-The mostest.

Contact me at zzzealcommissions@gmail.com if you’re interested (or swing me a PM), and further details can be discussed. If you can’t commission, please signal boost this! 

Following the success of Icons & Idols, Fake Geek Girls Like Us is making a second submission based zine that brings together visual and written works that look at pop culture and nerd culture through a variety of feminist lenses. We are specifically looking for work that explores gender representation in science fiction. 


While some pieces might look critically at the genre of sci fi others may celebrate characters/people within the genre. Submissions may explore:
-The Future Is Queer
-The Future is Female
-Afrofuturism
-Decolonizing Science Fiction
-Your Favourite Heroines In Sci Fi
-Dystopia / Utopia
-Imagined Futures
-Tropes in Science Fiction
These are just some questions but please feel free to explore the idea further. If you have any questions please feel free to contact us at fakegeekgirlslikeus@gmail.com

We will be accepting submissions until August 17 at Midnight. Artists will hear back about their submissions by August 31st. To submit email fakegeekgirlslikeus@gmail.com with the subject line ‘Googie Girls Submission’

In your submissions please include the title of the work, medium, date and a brief statement as to how your submission fits the theme. Visual works please send a maximum of 4 images in JPEG format. Written works please send works that are 500 words or less in PDF or WORD format

We are also accepting proposals for splash page illustrations.

This zine will be funded by Indiegogo, which will launch in September. Anticipated launch is late October/early November 2017.

Following the success of Icons & Idols, Fake Geek Girls Like Us is making a second submission based zine that brings together visual and written works that look at pop culture and nerd culture through a variety of feminist lenses. We are specifically looking for work that explores gender representation in science fiction. 

While some pieces might look critically at the genre of sci fi others may celebrate characters/people within the genre. Submissions may explore:
-The Future Is Queer
-The Future is Female
-Afrofuturism
-Decolonizing Science Fiction
-Your Favourite Heroines In Sci Fi
-Dystopia / Uptopia
-Imagined Futures
-Tropes in Science Fiction
These are just some questions but please feel free to explore the idea further. If you have any questions please feel free to contact us at fakegeekgirlslikeus@gmail.com

We will be accepting submissions until August 17 at Midnight. Artists will hear back about their submissions by August 31st. To submit email fakegeekgirlslikeus@gmail.com with the subject line ‘Googie Girls Submission’

In your submissions please include the title of the work, medium, date and a brief statement as to how your submission fits the theme. Visual works please send a maximum of 4 images in JPEG format. Written works please send works that are 500 words or less in PDF or WORD format

We are also accepting proposals for splash page illustrations. 

This zine will be funded by Indiegogo, which will launch in September. Anticipated launch is late October/early November 2017.

Fake Geek Girls Like Us Mission Statement: Fake Geek Girls Like Us aims to create a community space in which people who are made to feel unwelcome in geek culture because of their gender feel safe expressing themselves and sharing their artwork.

RSVP here: www.facebook.com/events/465505773808439/

anonymous asked:

What if they give us something in exchange of their 1 year anniversary

Doubtful. I don’t think they want the date out there. People know it’s likely in late October or early November, which I think is enough.

The Consort  {Chapter Two}

Wow, first of all I’d just like to thank y’all for the crazy reaction I got for the first part of this (75 notes is a lot for me) and I’m just so thrilled that you guys liked it. And thank you for the absolutely lovely comments. 

So I think I’m going to post a chapter every week (or more if I feel like it) every Wednesday. I’m currently working on Chapter Three which I think is probably more entertaining than this chapter. I hope this one lives up to your expectations!  - Sarah 

Chapter One

WARNING MAJOR SPOILERS BELOW

Keep reading

the promotion is cool but i’m not sure when i’m gonna get it and it could be as late as october which is when my lease expires so i kinda need the money sooner otherwise i’ll be unable to move out. especially since wherever i go will want pay stubs and if i don’t start making more soon then i really won’t be able to prove i can even afford to continue living where i do now

nerdsapphi  asked:

Hi~~~! I went to your TicTail and bought 2 sets of the holographic tarot cards a while back. Absolutely GORGEOUS by the way~ And I was just wondering when they would be shipped out? I'm not trying to rush you, I'm just looking for an estimated timelines to base it off of. ^_^

Currently looking at mid-late September shipping, which means the decks will arrive around late September-early October!

batmanisagatewaydrug  asked:

for the autumn asks: wool socks, black Friday, the color orange!

wool socks: what’s something you look forward to in fall?

I love the Maryland Renaissance Festival, which just started this weekend and goes until late October. It’s one of the better faires in the country.

black friday: what is one thing, if anything, you would sell your soul to own?

Wouldn’t sell my soul for it, but damn do I want a house with a big, private backyard where I could have a fire pit, a hammock, fruit trees, a swing, and a bunch of gardens.

the color orange: do you have a specific song that reminds you of autumn? what is it?

Gonna be cheeky and go with these vaguely-spooky-sounding Dessa songs, “Call Off Your Ghost” and “Skeleton Key.”

Also the song from the David S Pumpkins bit:

Potency Threading Company in Detroit - June 2nd, 2015. Follow our twitter and Instagram @ptcstreetwear to stay updated with the brand! We are currently putting together an A/W collection, which is planned to be released by late September/early October. 

anonymous asked:

Pumpkin spice and flannel?

pumpkin spice already answered!

flannel: what’s your favorite day of the year? is there a reason it’s your favorite?

the first rain of the year, which generally happens in late october here. since i live in california, rain is definitely a rarity so i always look forward to it when i can haha

Magic Made Him (Not) Do It

I did some ficcery on the tram recently. Without further ado, have some pre-slash Sterek with touch-starved Stiles and pack feels everyone!

~

It started out with a small incident that quickly blew out of proportion, like so many things in Stiles’ life.

Not long after the mess that had been the Alpha Pack, they had to deal with a pesky infestation of malevolent spirits. At first they thought it would be an easy solve, but no matter what they tried, they seemed unable to banish them. After days in which nothing worked in their favor, Deaton had finally taken Stiles aside.

“Your unique situation affords us one last course of action,” said the vet in a calm voice and put an open spell book into his hands, tapping his index finger against one particular entry.

Frowning, Stiles briefly skimmed it, his jaw dropping in sheer disbelief when he’d finished reading.

“Are you seriously saying that I have special powers because I am still a virgin?” he spluttered incredulously, ignoring the assembled pack’s answering snickers.

“Indeed,” Deaton said gravely, not one ounce of amusement coloring his voice.

*

And so it had started.

Keep reading

Happy Canada Day! We’re celebrating with the Canada Lynx and Snowshoe Hare diorama, which takes place in late October, Quebec, Canada.

Despite its best efforts to hide, a snowshoe (varying) hare has captured the attention of a Canada lynx. If the hare acts quickly, it may escape. With its large “snowshoe” hind feet, this hare can bound 12 feet (3.6 meters) in a single leap, even in deep snow.

Still, lynxes specialize in hunting rabbits. They too have broad, well-furred paws and fast reflexes. Lynx hearing and vision are also excellent for tracking rabbits on the run. This hare’s fur coat, which varies with the season, will surely stand out against the October snow—the pelt has not yet turned fully white.

Canada lynxes eat mostly snowshoe hares—which in turn are preyed on almost exclusively by Canada lynxes. This unusually tight predator-prey relationship means that when hare numbers change, so do lynx numbers (and vice versa), sometimes drastically.

Learn more about the Canada lynx and snowshoe hare diorama

Welcome to 1989

You guyssss I am so excited to be back! OWOB is one of my favorite parts of the internet, and I can’t overstate how fun it is to be offered a space to geek the hell out about something for a week straight. Today we’re diving right in with Welcome to New York and Blank Space; the rest of the week will proceed more or less in album order.



But first! Just a few programming notes.

This week, I will not be:

Talking about Taylor Swift’s personal life. In part because there is almost literally nothing left to say at this point. She’s dated some dudes, and now instead of dating dudes she hangs out with figure skaters, supermodels, and other female musicians. She has two cats. She wears clothes. You’re caught up. We’re good.

But also because while 1989 is just as intimate as the albums that preceded it, it’s explicitly less personal. Her liner notes play the same cryptic game of giving us a story-behind-the-story, but instead of coded messages, there’s the thread of a narrative:

We begin our story in New York. There once was a girl known by everyone and no one. Her heart belonged to someone who couldn’t stay. They loved each other recklessly. They paid the price. She danced to forget him. He drove past her street each night. She made friends and enemies. He only saw her in his dreams. Then one day he came back. Timing is a funny thing. And everyone was watching. She lost him but she found herself and somehow that was everything.

So, to start with, we begin our story, and then there was a girl. The songs themselves explores characters: Taylor as the big city ingenue in Welcome to New York, and the press-created myth of her as a vixen/basket case in Blank Space, and finally the author of love songs in U R in Love. Instead of folding in on themselves, encouraging us to scan the lyrics like a puzzle and look to her life for answers, they point outward, towards the universality of the stories she’s telling. Being herself in the glare of an international spotlight was exhausting and impossible; now she tries on voices and faces and stories in order to get at the same themes she’s been exploring all along.



Posting Spotify tracks. Because I can’t! Because Taylor took her music off of Spotify. I guess people thought this was outrageous because it’s not like she needs the money, but that wasn’t at all the point: as she said in this Time interview, the point is that Spotify literally devalues the work that she does, and the work that her colleagues and contemporaries do. She can afford to pull her music because she doesn’t need the meager revenues or the exposure, but many can’t. It was a statement; I think she was right to make it.

Plus the fact that she’s making it is interesting. One of the things Taylor has insisted on, over and over again, is how she made the creative and business decisions for this album: she said it was going to be pop and she said it was going to have a Polaroid of half of her face on the cover, and she said it wasn’t going to be on Spotify.

1989 was the first album to go platinum in 2014, which, since it was released in late October, is telling both about the kind of year the music industry was having, and the power she wields. She’s spoken extensively about how carefully she spent the year leading up to its release talking to fans about what they wanted, and figuring out what she could offer that people would pay for. She wrote a whole WSJ op-ed about it.

And since 1989’s success, she’s been very clear that those sales figures weren’t a fluke: they were the result of tons of careful consideration and active campaigning on her part. She’s been positioning herself as a savvy businesswoman, which is a role people are much more reluctant to afford a pretty young woman than the less threatening writer-of-love-songs one she’s held so far.



That said, I will be:

posting pieces from a bunch of guest contributors. I’m so, so excited about them—Hendrik and I reached out to a few folks who’d written for OWOB before, and immediately I started getting responses that excited and scared me in equal measure. Because it’s great getting to share the love, and give voice and spotlight to more, more, always more women writing about women making creative work.

But it scared me because Taylor Swift is an artist who so many people—particularly young women—feel personally passionate about. Teenage girls are courted and marketed to intensively, but rarely are they heard or understood, and if there’s one thing that Taylor Swift does, it’s listen to her fans.

I think that’s what gets lost, or elided, anyway, too often in conversations about her music: because it’s so popular, we look at it as a cultural phenomenon rather than the network of specific, personal relationships that it actually is. It’s easy to say broad things about Taylor Swift’s Feminism, but it’s another to listen to someone when she says: here is how Taylor Swift changed and informed my relationship to my feminism, and myself.

That’s the goal of this week, as far as I’m concerned: to tell specific, personal stories about this work and the way it has affected our actual lives, how we’ve loved and struggled with these songs and ourselves. It sounds cheesy, probably, and a little grandiose, but, hey, that’s Taylor for you. 

So if you want to contribute, please send something short (like, no more than 250 words, please!) about a lyric or moment you loved on the album. I’ll collect and post them as a final hurrah on Sunday. Because there is something radical about a bunch of young women (though this offer is not limited to women, I’m guessing most of the respondents will be) saying: I love this. This is important to me. And this is why.

So let’s do it, yeah?


A Coastal Defense Against Storms And Rising Seas That Bruce Lee Would Like

by Michael Keller

The way to protect shoreline communities from monster storms and climate change’s rising seas might not be to erect huge walls to fight the water, but to use its own energy to control it. 

That’s the idea behind a comprehensive coastal resiliency project called Living Breakwaters, which in late October won the 2014 Buckminster Fuller Institute Challenge for socially responsible design. The system, created by SCAPE/LANDSCAPE ARCHITECTURE PLLC, looks to reduce risks by rebuilding tidal habitats like oyster reefs that once protected shorelines along with smarter coastal planning and development.

At its heart, the winning idea is to construct rocky mounds and sloped walls within the water column that armor the coastline and diffuse wave energy. Those in front of undeveloped onshore lands like parks and refuges would be fully submerged tidal breakwaters while those in front of developed communities would protrude above the waterline as exposed islands. Both versions also act as artificial reefs that rebuild ecosystems and become homes for fish and shellfish. These are meant to serve as buffers between populated land and open water that absorb wave energy to diminish erosion and flooding. 

Read more and see images and videos below.

Keep reading