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seneon · 1 month ago

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APOCALYPSE ──── teenage¡touya × teenage¡reader.

about. winters are always spent with the todoroki family. except, this winter is a more bit special. set in a no quirk! au. romance. touya is written as touya, before dabi existed. reader is a poet/writer. listen to apocalypse. wc of 1900+

notes. happiest birthday to one of the most complexed character i ever loved. it's also shidmerica ( my babies ) 1 year anniversary!! so it's written specially for them. my heart belongs to you, @w1nterelle and @hyoismbbg 🖤

THE FLURRIES OF SNOW DANCED OUTSIDE WITH UTMOST GRACE. you stood by the window, the chill from the glass seeped into your skin, but it didn’t dampen your spirit.

winter break had already begun, and the promise of endless fun stretched out before you like a freshly fallen blanket of white. it itches all the cells in your skin and calls out to you for a walk in this season of winter which you haven’t seen in a while.

so you grabbed your coat from the worn out hook by the todoroki’s door, fabric whispering against the wooden paneling.

the snow crunched underfoot, a rhythmic soundtrack to the stillness that had descended upon the neighborhood. the world was muffled, as if the flakes were little sound absorbers, leaving only the occasional distant laugh or the jingle of a collar to pierce the quiet.

your eyes looked around, feeling a sense of familiar comfort wash over you. when have you last seen this familiar neighbourhood covered in a veil of pearly white snow?

the towering pines were laden with snow, their branches bowing gracefully under the weight of 'winter's kiss', just as touya’s mother likes to say.

and after you came to the said boy. touya looked like the living embodiment of the season itself, his cheeks flushed from the cold, turquoise eyes sparkling with the same brightness as the icicles that hung from the eaves of the neighbouring houses. his hair the perfect compliment of the snow.

this is how you knew the eldest todoroki— pale and beautiful, every christmas or new years your family spent with the todorokis had painted that image of him ever since childhood.

touya’s breath hung in the air, little puffs of condensation that seemed to carry his unseen excitement. his smile was tiny, and though it didn’t reach his eyes, it was very much visible enough to you.

you waved, and he waved back. the snowflakes caught in his snow-white lashes like a sprinkle of glitter. touya bounded over, his boots leaving tracks in the untouched snow, and handed you a pair of gloves.

“you... are begging for a cold, missy.”

to have touya hand out a pair of his gloves is satisfying to you, because he knows you’ve forgotten the ones he got you for christmas two years ago. it’s left at home to practically rot like your old piano left in the dark to collect dust.

you took the gloves. “thank you, touya,” you gave him a tiny smile with a surfacing blush as he watched you put it on. his hands are larger than yours, that’s for sure. so the gloves looked a tad bit funny on you. but it didn’t matter now.

“so what do you want to do first? i heard the park has a new toboggan slide this year,” said touya as you shook your head. “i want to walk around the neighbourhood. i haven’t been here in a while.”

“alright, sure,” touya replied and adjusted the collar of his coat, the wind causing the fabric to snap gently. “but don’t say i didn’t warn you if you get frostbite on your cheeks,” he added, causing a soft chuckle to emit from the depths of your throat.

he started off towards the sidewalk, each step leaving a trail of footprints in the fresh snow. you followed suit, your boots sinking into the white carpet that covered the ground.

the air was crisp and biting, carrying the faint scent of pine and wood smoke from distant chimneys. the houses lining the street were adorned with wreaths and lights, their windows glowing.

the silence settled over you both like a blanket, but it wasn’t uncomfortable. touya seemed content to just walk side by side, his gaze flickering from the snow-laden trees to the sky, a soft smile on his face.

if anything else, he looked at peace, wrapped in the quiet simplicity of the winter morning. there was something oddly charming about him at this moment, something so soft. the wind caught a few snowflakes, whirling them around his head like a silvery crown.

curiousity strikes out of nowhere, and you glance at the todoroki. it was only for a moment, but you noticed so many subtle details on his face in that short moment.

despite the cold, a light flush dusted across his pale cheeks. touya’s eyelashes, unusually thick for a boy, were dusted with flecks of white, catching the sunlight. his precious white hair, windswept and messy, clung to his forehead, giving him a boyish, almost vulnerable appearance.

his hands were shoved deep into his pockets, and every so often, he would huff out a breath, creating a tiny cloud in front of his mouth. each exhale was accompanied by a small, barely perceptible shiver.

“you’re really pretty for a boy, y’know?”

touya’s cheeks blossomed a field of red roses in this cold winter, and he looked at you with a mixture of surprise and embarrassment.

“pretty?” he mumbled, eyes flickering anywhere but your face. “guys aren’t supposed to be pretty.”

despite his awkward and flustered expression, there was a hint of bashful pleasure in his eyes. it was clear that he wasn’t used to compliments, especially of this nature.

your fingers dived into the pockets of your winter coat, the tips brushing against a small leather notebook as you looked down at the snow beneath. “i know, touya. but you grow even more beautiful every winter.”

the boy’s cheeks reddened further, turning an almost cherry red. he was clearly unused to such blatant praise, and it seemed to leave him flustered and at a loss for words.

“i— well…” he stuttered, his usual reserve crumbling in the face of your compliment. his ears had taken on a similar hue as his cheeks, and he seemed unable to look directly at you, his gaze darting to the snow-covered road instead.

“thank you, i guess,” he muttered, his voice barely above a whisper, and it made the corner of your lips curved upwards just a little.

silence engulfed the air for a moment as you both walked along the snowy roads. not long before, you decided to break the silence again.

“do you like poetry?”

he shakes his head in denial. “no, but they’re sometimes nice to read though,” touya looks over at you. “don’t you write poetry? have you written a piece for anyone?”

you bit your lip, clearly contemplating touya's question. your face was a mix of hesitance and curiosity, as if you were warring with yourself over whether to share something deeply personal.

“i’ve written a few,” you admitted, voice almost inaudible over the sound of the wind. “mostly just.. thoughts and observations. nothing really significant, i guess. they’re also messy metaphors that make almost no sense.”

you paused, fingers still tracing the worn leather of your little notebook in your pocket. “but to answer your question... yes. i have. for one person, specifically.”

“oh? who’s the lucky person?” touya raises a brow, and you flushed a shade of wine red. suddenly, the snow beneath your feet looks interesting. your gaze flickered to touya’s for a moment, a mix of vulnerability and shyness in your pretty eyes.

you swallowed hard, hand clenching and unclenching nervously at your side. it was clear that admitting this was difficult for you, but you seemed resigned to doing so.

“it’s you,” you said softly, the word barely above a whisper, as if you were afraid someone else might hear.

the boy blinked twice, or it was many. either way he couldn’t tell. he was quite baffled that he is your subject of muse for your poetry.

“me?” he questioned as a chuckle emitted from him.

your cheeks were a vibrant scarlet now, gaze firmly planted on the ground. you nodded almost imperceptibly. “yeah, you,” you scratched your cheeks with a finger. “it’s silly, i know. i just... there's something about you that makes me write, y’know?”

touya kicked a pile of snow as you both continued to walk along the streets. he then looked over at you, noticing your undeniably adorable flushed cheeks.

“can i read your poem? that is, if you’re okay with it.”

“uh—” you trailed off, swallowing some gathering saliva in your mouth. the idea of someone reading your most private thoughts was terrifying, but there was also a small flicker of hope in his eyes, a glimmer of the prospect of being understood through the beauty of your words.

you nodded slowly, voice still soft and tentative as you looked up at him. “okay. you can read it,” you replied in a whisper. “but touya... promise me you won’t laugh, alright?”

touya would never laugh at you, gosh, he never will. not when his heart swells at the idea of you writing about him and he gets to read it.

with a deep breath, you braced yourself and fumbled with the zipper of your jacket. then, a worn leather notebook from your pocket was extracted. the cover was slightly frayed at the edges, evidence of many hours spent flipping through the pages.

you held it out for touya, hand trembling the slightest bit. “here.”

he took it and gestured to a bookmarked page. seeing you nod confirmed that the page was the poem about him. as touya’s turquoise eyes scanned the words scribbled in your handwriting, he could feel his heart fluttering.

your emotions were laid bare on the page— the joy, the trepidation, the deep admiration and more. it was a raw, unfiltered confession, each line a direct window into your thoughts and feelings. you watched him with a mix of anticipation and fear, waiting for him to judge you in any way. pessimism seems to storm your mind at this moment.

once the written poem has been finished reading, the first thing touya did was look at you, a brow raised.

“what?” you immediately asked, the fear growing more prominent. all he did was simply chuckled as he said, “you’re a romantic, aren’t you? ‘your lips, my lips, apocalypse’, hmm? is this one of those messy metaphors of yours that doesn’t make any sense?”

he teased, and if not for your prominent blush, it could have your skin grow even warmer than it already has. you’re so flustered and to the angels of heaven above does touya adore the sight of you that stands out from the winter snows.

before you could utter a reply or anything that might spill out from your lips, he looked at the small notebook, a smile slowly carving its way at the corner of his lips.

“i love it. the way you write, the way you describe me. every word, every messy metaphors… it’s perfect.”

to hear his words sent a wave of relief and emotions throughout every inch of your soul. it seemed to warm you up in this cold winter wonderland, providing you with comfort.

“i’m glad you think so,” you chuckled. “i was worried it was too cliché or sentimental.”

“oh believe me when i say this, it is cliché, not sentimental. but it’s those stupid romantic clichés,” touya shut the notebook and handed it to you, watching as you kept it in your pocket, down into the coat it goes.

“stupid romantic clichés…” you repeated, allowing your mind to wander and ponder upon his words. as your conscious mind pays a visit to wonderland, he paused in his tracks, leans down, and collides his lips with yours.

your footsteps came to a halt, eyes widening ever so slightly as his warm hands moved to hold your chin. his lips kissed your top lip, then your bottom lip. at last, a final peck, and another one on your nose.

“there. your lips, my lips...”

“apocalypse,” you smiled.

TAGGING ★ @solvisun @seumyo @angeliicheartt @heartkaji @syverse @rueclfer @suksatoru @poetlus @elssero @redvdress @poemeater @dem1verse @haunted4kent @luvlyycy @skiiyoomin @leahrintarou @bbluefllame @ryescapades @bysarahada @sepptember @sahrii @reocidal | read teenage winter tenko here !

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so-i-did-this-thing · 4 months ago

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Regarding silhouettes being key to recreating a certain decade's look and vibe: do you have any useful references for larger-bodied people? As a fat transmasc, I struggle to find my body type represented in historical fashion illustrations. Anything around the 1940's/50's/60's would be especially appreciated, as well as general-purpose advice for plus-size vintage aspirations. Thank you!

I don't have specific resources, but welcome folks to chime in. My two main observations, though:

1) Finding true vintage in your size may be tough, because larger garments tend to see the most wear and alterations over time. Read up on "survivorship bias" on why people think the past was only populated by skinny people, when it was nothing of the sort.

2) When sold as a set, men's suits have a 6" spread between chest and waist measurements. I rarely find a trans masc who fits a ready-made suit. So, when buying new vintage, shop for seperates.

That said, I did find this article about the evolution of Big & Tall men's sizing. It has a lot of vintage photos of fat men in casual and dressy attire, plus shopping recommendations. If you want more style examples, I'd suggest zeroing in on some of the fat celebs of the day and look for more photos.

(Quick warning - looks like this article has auto-generated ads, so you might see some weightloss garbage.)

If you are on Facebook, I regularly see large guys post in this vintage menswear group (as well as transmasc folks). People tend to just share their fits, but I'm sure there will be plenty of fat guys who can give you some good recommendations.

Hope that helps!

#fashion #vintage fashion #men's fashion #trans stuff

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hometoursandotherstuff · 4 months ago

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Cute 1900 home in Three Oaks, MI has some very beautiful original features, and some modern hacks. (Like I wish they hadn't covered the chimney in siding.) 4bds 2ba, 2,283 sq ft, $620k.

The entrance foyer strikes me as odd. I wonder if they put up that wall. It just seems awkward.

I expect that an original mantle was moved from wherever the chimney is (the one that they covered in siding).

I was wondering what that weird, wrinkled curtain was for.

Turns out it's to hide the built-in wall storage for the electronics. I would take that down. It's ugly.

Cute, sunny dining room. Oooh, there's a little door behind the sideboard. That's got to be original. I wonder if the stairs were open at one time.

Adorable kitchen cabinets. I like the backsplash. Not a fan of tiled counters. The cabinet doors are sagging, though. I hope that can be fixed.

This is great- the original inset for the stove. I like the floor, too.

Very nice- they made an insert for the fridge, too.

Newer addition is a large sunroom.

Then, down this knotty pine hallway-

You come to another newer addition that houses a lap pool.

Now, we're on the upper level. It's pretty sunny up here.

This looks like a newer part of the house.

It looks like it used to be the attic.

How cute- a bright vintage bath.

Surprisingly roomy, being it's under the pitched roof.

Long driveway with a 2 car garage.

The lot size is .20 acre and there's a little covered patio, but plenty of space to expand.

In this aerial view you can see a weird extension they added to the house, that I think is the lap pool room.

But then, there's this empty space, too. I can't tell where this is. Could it be above the garage? Maybe it's accessed from the stairs next to the pool room. I don't know, but it has potential.

So many add-ons.

https://benstephen.cressyeverett.com/s/mi/berrien-county/three-oaks/49128/112-e-sycamore-street/dmgid_173230328.html

#victorian homes #old house dreams #houses #house tours #home tour

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fatehbaz · 3 months ago

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Originally I had attached these tags about British imperial forestry to a post about United States treatment of forests, Indigenous peoples, and land administration from 1900-ish to 1935-ish, during a transition period when clear-cutting logging was threatening profit so the US turned to a German- and British-influenced "sustained yield" forestry paradigm:

And in response, someone added:

In the midst of the first Empire Forestry Conference of scientists, academics, and administrators in 1920, the chairman of the Forestry Commission of Britain, Lord Lovat, said that forests were "grown for use and not for mere ornament ... Forests are national assets only so far as they supply the raw material for industrial development."

Rajan (in Modernizing Nature) directly quotes professor of forestry at Oxford, R.S. Troup, who had been influential in the Indian forest service; at the same forestry conference in 1920, Troup promoted sustained yield like this: "Conservation was a 'wise and necessary measure' but it was 'only a stage towards the problem of how best to utilise the forest resources of the empire'. The ultimate ideal was economic management [...], which regarded forests as capital assets, fixed annual yields in such a manner as to exploit 'to the full interest on this capital [...]' and aimed for equal annual yields so as to sustain the market and provide regular supplies of timber to industry."

One of the big - and easily accessible/readable - summaries of the shift to sustained yield and rise of US and British administrators embracing "economic management" of forests:

Modernizing Nature: Forestry and Imperial Economic Development, 1800-1950. S. Ravi Rajan. 2006.

Concise look at the trajectory from East India Company and Royal Navy timber reserves; to British foresters training in Germany and/or in German traditions (including sustained yield) before joining as officers in the powerful British-Indian land administration bureaucracy; to US scientists being trained by those British administrators; to 1920s/1930s Empire Forestry Conferences promoting industry while identifying forests as essential to power.

---

This has also been covered by:

Vinita Damodaran, Richard Grove, Jeyamalar Kathirithamby-Wells, Jonathan Saha, Gregory Barton, Rohan D'Souza.

More summaries of the situation (shorter length, accessible):

"Imperial Environmentalism or Environmental Imperialism? European Forestry, Colonial Forests and the Agenda of Forest Management in the British Empire, 1800-1900". S. Ravi Rajan, In: Nature and Orient: Essays on Environmental History of South and South East Asia, 1998.

"'Dominion over palm and pine': the British Empire forestry conferences, 1920-1947". J.M. Powell, Journal of Historical Geography, Volume 33, Issue 4, October 2007.

Elsewhere, Elizabeth DeLoughrey and George Handley described it like this: 'These forest reserves [...] did not necessarily represent "an atavistic interest in preserving the 'natural' [...]" but rather "a more manipulative and power-conscious interest in constructing new landscapes [...]."' While Sharae Deckard adds: '[T]he subversive potential of the "green" critique [...] was defused by the extent to which growing environmental sensibilities enabled imperialism to function more efficiently by appropriating botanical knowledge and indigenous conservation methods [...].'

---

And the book:

Commonwealth Forestry and Environmental History: Empire, Forests and Colonial Environments in Africa, the Caribbean, South Asia and New Zealand.

Edited by Damodaran and D'Souza, with work from conferences hosted by Grove, in 19 chapters including:

"Worlds Apart? The Scottish Forestry Tradition and the Development of Forestry in India" (K. Jan Ootheok); "Redeeming Wood by Destroying the Forest: Shola, Plantations and Colonial Conservancy on the Nilgiris in the Nineteenth Century" (Deborah Sutton); "Nature's Tea Bounty: Plant Colonialism and 'Garden' Capitalism in the British Empire" (Jayeeta Sharma); "Industrialized Rainforests: The Ecological Transformation of the Sri Lankan Highlands, 1815-1900"; "Forestry and Social Engineering in the Miombo Woodlands of South-Eastern Tanganyika" (Thaddeus Sunseri)

---

Rajan also points out (again in Modernizing Nature):

"[An] extremely important aspect to the repackaging [of forestry science and management] [...] [and] a critical principle that stands out here is that of sustained yield, or sustainability (Nachhaltigekeit). This concept was fundamental [...]. By the turn of the [twentieth] century a large pan-colonial [British-United States] scientific community was in existence, trained in the German and French tradition of forestry [...]. Following the revolt of 1857, the government of [British] India sought to pursue active interventionist policies [...]. Experts were deployed as 'scientific soldiers' [...]. Dietrich Brandis [...], considered the founder of Indian forestry [...] married Rachel Marshman, who was [...] also the sister of the wife of General Havelock, a close friend of Lord Dalhouse, the then governor-general of India. On Havelock's recommendation, Brandis was put in charge of the forests of [...] Burma [...] and was subsequently appointed inspector-general of forests of India. [...] He also trained prospective foresters of the forest department of the USA, including Gifford Pinchot. [...] Chancellor Bismarck gave the visiting British Prime Minister Gladstone an oak sapling [...]. Prussia prided itself on helping devise [...] modern forest management. [...] [T]he Forestry Commision [...], [or] [t]he Imperial Visionaries, as they became known, believed that an increase in primary production in the tropical dependent empire would result in the growth of the British economy. [...] They deemed their own job to be serving the imperial economy."

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And also:

Empire Forestry and the Origins of Environmentalism. GA Barton, 2002.

"Colonialism and Green Science: History of Colonial Scientific Forestry in South India, 1820-1920". VM Ravikumar Vejendala, Indian Journal of History of Science, 47:2, pages 241-259, 2012.

"Imperialism, Intellectual Networks, and Environmental Change: Unearthing the Origins and Evolution of Global Environmental History." Vinitia Damodaran and Richard Grove, in Nature's End: History and the Environment, 2009.

"The Reconfiguration of Scientific Career Networks in the Late Colonial Period: The Case of Food and Agriculture Organization and the British Colonial Forestry Service" by Jennifer Gold, and "A Network Approach to the Origins of Forestry Education in India, 1855-1885" by Brett M. Bennett. Both chapters are form Science and Empire, 2011.

Triumph of the Expert: Agrarian Doctrines of Development and the Legacies of British Colonialism. Joseph Morgan Hidge, in Series in Ecology and History, 2007.

Nature and Nation: Forests and Development in Peninsular Malaysia. Jeyamalar Kathirithamby-Wells, 2005. And also: "Peninsular Malaysia in the context of natural history and colonial science." Jeyamalar Kathirithamby-Wells, New Zealand Journal of Asian Studies, Volume 11, Number 1, 2009.

"Empires of Forestry: Professional Forestry and State Power in Southeast Asia, Part 1". Peter Vandergeest and Nancy Lee Peluso, Environment and History 12, no. 1, pages 31-64, February 2006.

#tidalectics #ecologies #multispecies #geographic imaginaries #indigenous #elizabeth deloughrey #british imperial forestry #british empire in south asia #indigenous pedagogies #kathryn yusoff #black methodologies

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misforgotten2 · 9 months ago

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National Geographic Magazine - October 1928

#1928 #1920s #1920's #1920s cars #willys #automotive #car ad #vintage ads #vintage ad #advertising #advertisement #1900s #1900s ad #1900's #1900's ad

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arthistoryanimalia · 25 days ago

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#MetalMonday :

Akan weights in the form of mudfish

Ghana / Côte d'Ivoire, 18-19th c.

Copper alloy

On display at National Museum of African Art, Smithsonian Institution

Symbols of: wealth, power, transformation, resilience

Copper alloy

“Visually, [Akan] weights fall into two distinct categories: geometric and figurative. Stylistically they are divided into early (c. 1400-1700) and late (c. 1700-1900) periods. During the late period, figurative weights increased in both number and variety, although geometric weights were still made. Generally, late-period figurative weights have added details and textures beyond the basic form that would identify the subject.”

“Some weights’ forms were selected just for their beauty or to display the owner’s status. Many, however, evoke Akan proverbs, whose meanings vary with time and place—more than one interpretation can apply. Hence water creatures were popular weights, with their associations of fluidity, flexibility, and movement between worlds.”

“Th[ese] weight[s] [are] in the form of mudfish, a symbol of wealth and transformation. The mudfish lives when ordinary animals would die, surviving the loss of water.”

(Info via NMAA)

#animals in art #19th century art #museum visit #18th century art #Akan art #weight #metalwork #fish #mudfish #animal iconography #African art #West African art #Metal Monday #sculpture #figure #National Museum of African Art #copper

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oillipheist9000 · 1 year ago

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Heyy

So, this is mostly just a fun timeline I made with little research backing it, but I thought it might be cool to share?

It goes through what historical events happened throughout Alastor’s life that might have impacted him and sets the stage for what his life might have looked like. It does hinge quite a bit on US history, so I will also touch on parts of that for our friends who aren’t from the US and don’t know : D

Now keep in mind that this is more of just a list of fun facts that i’ve shoved into a readable outline, than anything put together lol.

Alastor is said to be in his 30’s or 40’s when he died in 1933, this puts his year of birth at a rough range of 1890-1900. For the purpose of this timeline, I will be assuming that Alastor was born in the year 1902 because I want to. This would make him 31 at the time of his death.

In 1892, the supreme court ruled on Plessy vs Ferguson, which was what established the idea of ‘Separate but Equal’ <- (i'm assuming people know what that is and stuff, if you don’t know, feel free to ask, I can give more of a history lesson)

From 1900-1909, education past the 5th grade did not EXIST in New Orleans for black children. This is a large part of why I believe a birth year of at least 1900 would be more accurate for Alastor, as he would have been 7-9 (2nd-4th) when middle school (6th-8th) became available to him.

In 1917, McDonogh No. 35 High School became the first public high school for black teens. Alastor would have been 15 in my timeline. This means that he would have likely been out of school for a year under the assumption that he wouldn’t be able to go anymore. (There were a couple private schools, but those were Expensive!!)

1920: KKK reemerged in Louisiana <- (again, assuming people know the history on this, if you would like a quick history lesson, lmk!!)

In 1921, Alastor graduated! Yay!! He is now 19!

Now, a fun fact! Throughout all of this, radio has not existed as a Thing in New Orleans. Alastor would not have grown up listening to the radio. It would have been new tech for him!!

In 1922, the first radio station came to New Orleans!!! It’s called WWL and it runs … drumroll please … ADS!!! In an attempt to raise funds for Loyola University! Exciting, right? : D

By 1927, the Federal Radio Commission was established in an effort to help organize airwaves, which had become messy and disorganized from the abundance of unlicensed, random people broadcasting.

1933: Alastor dies D:

Also 1933, oddly enough, A newspaper somehow managed to get radio stations in New Orleans legally banned from airing news from the last 24 hours?????

An interesting note. This ban went through in the summer. Deer season is in the winter (Dec-Jan), so it was either banned 6 months before or 6 months after Alastor’s death

1934: FRC is replaced by the Federal Communications Commission

This is pretty much all I have. I also am including some of the links to sources that I thought were interesting. Super open to discussions and questions lol. Hope someone enjoyed reading all this lmao

And also @nunalastor cause you seemed interested and I finally got everything together lol

#hazbin hotel #hazbin alastor

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