My Love (Moya Lyubov) is a paint-on-glass-animated 2006 short film directed by Aleksandr Petrov and based on Ivan Shmelyov’s 1927 A Love Story (Istoriya Lyubovnaya). It takes place in the 19th century Russia and tells the story of the sixteen-year-old boy Anton who is torn apart by his feelings for a pure and gentle girl and a femme fatale. Watch it here.
Paint-on-glass animation is a technique for making animated films by manipulating slow-drying oil paints on sheets of glass. Aleksandr Petrov is the most well-known practitioner of this technique; he has used it in seven films, all of which have won numerous awards.
A comic I made for Westpride last spring.
Belatedly realizing I should have linked the character page and FAQ
Belatedly realizing I don’t have a readership any ways
Belatedly realizing I should have linked the character page and FAQ
You have stumbled upon this dimension of great wonders and horrors most likely by incident and I do invite you to leave before something bad happens.
The following are the tales of the last of the Foxhorn lineage and their various affiliates as they go about keeping the world from the brink of chaos and occasionally ensuring chaos ensues.
Due to the swirling vortex that is tmblrruanmblr, a chronological sorting of the universe was not achievable. Please use the following paths to side-step this break in the continuity of space, time and the cosmos.
Foxhorn i - with Ashley "A Case of Poor Appearances"
Foxhorn ii "Human"
Foxhorn iii "Changelings and Halfings"
Foxhorn iv "Contact"
Leixes i - with Foxhorn "Purchases"
Leixes ii "Plans"
Foxhorn v - with Ashley "People Philosophy 101"
Foxhorn vi - with Sigge "Poison But Mermaids"
Foxhorn vii - with Sigge "Torn"
Daxes, Foxhorn and Ashley "Pondscum Apocalypse"
Luna i - with Foxhorn "Jobs with Psychics"
Luna ii "Power"
Foxhorn viii - with Ashley "Nightmares"
Luna iii "Thrice in a Day"
Additional information under the cut.
Reblogging the masterpost for the Hellborne Universe, since In Science We Magic is completed. Generation 1 has three short stories left, and then that’s all the extra material I’m making public until the novel is finished. Generation 1.5 is steadily being worked on and will be made public in pdf form, most likely while the gen 1 novel is being written. Don’t forget the handy character page, and also that FAQ thing.
And reblogging over here in case any of my newer followers don’t know what I’m going on about half of the time.
Sometimes I’m internally like “How is that a trigger?, ” then I realize other people have different life experiences from me, they don’t owe me their story, and I move the fuck on.
Doing the writing thing, if anyone wants to help by distracting me, my skype’s up: footondrugs
Flappers shaming Miley Cyrus.
Oddly enough we could say that Miley Cyrus is following solidly in the appropriative footsteps of white flappers, who in the 1920s grabbed national attention and stirred alarmism concerning the end of civilization because they partied to Black music, wore their hair short like Josephine Baker (who fled US racism to become a superstar in Europe), and imitated dance moves from Baker and other Black dancers. The famously flapperesque Charleston was lifted from the African American dance called the Juba, which had West African roots and was danced in secret in the South and the Caribbean. The dance sped up when it reached Harlem, giving birth to both tap dancing and the Broadway hit called The Charleston, which spread like wildfire from there. White people didn’t sway their hips this scandalously prior to that era, making flappers roughly equivalent to white twerkers of the Jazz Age.
This is 100% true. The period from the jazz age to the beat generation, comparatively speaking was the height of cultural appropriation of black art. The beat generation used lingo popularized by Lester Young. They then appropriated the style, dress, and lingo of bebop musicians like Charlie Parker and Dizzy Gillespie, down to the beret, glasses, and soul patch. Bebop musicians, Parker and Gillespie in particular, were the blueprint of their image. Norman Mailer wrote an essay titled “The White Negro" that tackles this phenomenon. I’m no fan of Norman Mailer, but at least he admitted that white people were stealing from blacks. He wrote it in 1957.
With regards to the flappers, apart from Josephine Baker, they also liberally borrowed from black vaudeville performers. They would copy dance moves from black performers, and then introduce it as their own. Many dances attributed to whites are from black vaudeville performers who were forced to perform on the chitlin’ circuit because of segregation and Jim Crow laws.
It really is astonishing how nothing has changed in this regard. For example, people to this day still call Benny Goodman “the king of swing”, when what he did was procure charts for arrangements from Fletcher Henderson, a black man. Goodman’s biggest hits were from Henderson. It’s amazing how much credit Goodman gets for another man’s work. Of course Goodman became “the king of swing”, while Fletcher Henderson remains a footnote in history. How a white man becomes the king of something innovated by blacks is astounding. Benny Goodman is called “the king of swing”. Paul Whiteman is called “the king of jazz”. Elvis Presley is called “the king of rock n roll”. Is Eminem the king of rap? What about Justin Timberlake and Robin Thicke with r&b? Miley is soon on her way to become “the queen of twerking”.
Anyway, apart from getting his charts from Fletcher Henderson, Benny Goodman got his ass handed to him by Chick Webb at the Savoy Ballroom when they had a battle of the bands. Goodman is often noted as being one of the few white men in the segregation era to have black men in his band, and the narrative is typically presented as if he did it out of benevolence. He did it because there was no way to get around the fact that swing music was the domain of black folks, and he poached the best black players he could find to bolster his band, and black musicians went with him because as a white man, he was able to pay them more than black bandleaders, and they wouldn’t have to deal with indignity while traveling. Many hotels refused black bands, so they often had to sleep in cars, bus terminals, or crash at the homes of hospitable blacks. A big portion of Duke Ellington’s money went towards renting out train cars and making sure his orchestra had a place to sleep while on the road because hotels often turned them down because they were black. These were issues Goodman wasn’t going to face. Black musicians certainly didn’t go with him because he was the best. Goodman even later hired Henderson to arrange and play in his band. He wasn’t doing it because he loved black people. Black people were the ones creating and innovating. Where else would he get the best charts and arrangements? Now that the smoke has cleared and the dust has settled, Goodman gets all the credit. Funny how that works.
This stuff has been going on for a long time. Miley is the 2013 version. Twerking has been around for a long time, but Miley convulses on national tv and all of a sudden, dictionary definitions of twerking are made. Definitions complete with no mention of black people, like all this happened in a vacuum. It’s history repeating itself over and over again. I see the same thing happening with afrobeat music.
The more you know.
destroy the notion that someone’s mental health is what makes them evil.
destroy the notion that mental illnesses make bad people.
destroy the notion that you can’t be an outright awful person without being mentally ill.
destroy the notion that neurotypical people can do no harm.
“My family is from Eritrea, and I’m really interested in going back and working there.”
“What do you like the most about Eritrea?”
“I like the people because they are very humble, sweet and dignified. They work really hard, and they don’t experience the same social inequalities that exist in this country. They are a lot more united than the people here. I feel that the warmth is missing here. The thread that weaves this country together is money, not meeting people’s needs.”
“Why do you think Eritreans are more united?”
“I think African culture has always been more communalist. People live in close proximity to each other, and you are raised by your village. You can’t afford to be individualistic in a society that doesn’t have much, so the village or commune shares a water well. Individualism kind of sprouted out in Europe. When Europeans started extracting resources from Africa and elsewhere, they were able to build a society in which people had more. Africans have never taken resources in abundance from other countries in the same way. I think the whole theory of development came from the West. What is developed? Exploiting the Earth? That’s degenerative. The term development is relative and is defined within a Western framework.”
Homegirl started off lowkey and sweet and went straight for the jugular. I love her.
omg yaaaaasss! As I read on, I got more and more excited like yes, boo, slay those Western imperialist/colonist ideologies, fuck ‘em up!
Being good to each other is so important, guys.
If you have problems focusing while you write, try using ILYS.
The site is coded so that you can’t see what you are writing, only the last letter, and you can’t edit anything until you get to your words goal.
This means you have to focus on writing and what’s on your mind, and not the editing of what you have written so far.
You have to write or you can’t edit.
Once you hit your goal you can edit and write normally, or go back and use ilys once again.
Since you don’t have to worry about editing, you can let your creativity flows.
It can be frustrating, but it’s also liberating because you have to let it go.
Write first, edit later.
How can you make the two greatest assassins in the universe completely useless and boring?
Enjoyed the movie, but this was a legitimate issue.