#Calvin A. Hunt

[formlines]

Ridicule Figure Pole

Calvin A. Hunt

from the website: This massive Kwakwaka’wakw female figure has a dual cultural reference with quite opposite interpretations. The first is a historical reference to a practice among many Northwest Coast First Nations. Ridicule Poles or large Shaming Figures were intended to publicly belittle a rival Chief if a social obligation was not fulfilled or a misdeed not corrected. Commissioning or carving a figure or pole expressly for this purpose was a serious and expensive proposition—not undertaken frivolously—and it usually produced the desired results. The Tlingit in Alaska have had centuries-long tradition of ridicule poles depicting European and American statesmen and Presidents who have violated treaties and traditions. Their tradition continues to the present day.

Historically, the Kwakwaka’wakw tradition of ridicule poles and figures has been much different. In some cases, ridicule poles were altered once the offense was corrected, as in the famous Dzunuḵ̓wa figure erected in Gwa’yasdam’s village on Gilford Island prior to 1914. For 3 years, the figure faced down the beach toward the owner’s in-laws, who had not paid a marriage debt. When the in-laws honoured the debt, the pole was painted red and pivoted to face the water. Thus, the pole was transformed into a statement about the family treasures, as coppers, symbols of great wealth, were attached to her head and hands.

Calvin says, This kind of shaming is not something that’s done anymore. It’s the same thing as breaking coppers—they decided that enough’s enough and it was causing too much fighting within families. I think it’s a good thing, but at the same time, it was part of our history and our culture.

The second aspect of this dramatic figure is revealed in the painted designs on her body that represent timeless Kwakwaka’wakw treasures. A shaming figure would not be painted in this manner, Calvin noted. These graphic elements celebrate the continuing tradition of respect and honour for all Kwakwakaʼwakw women who are the Chief-Makers.

This Ridicule Figure is carved in red cedar and the designs are painted in black acrylic. This free-standing figure is over 72 inches (182 cm) tall, including the stand. It is about 35 inches (85 cm) wide and 18½ inches (47 cm) in depth. The Figure is mounted in a solid, hand-adzed black stand that can be detached.

[bubsbobgers]

obsessed with the way he completely takes over this scene? it feels like the kids accidentally walked into his episode instead of him being a minor character in theirs

[hailkingcheeto]

[rarestdoge]

OH SHIT SHINY CAMERON AND CHARLES

QUICK PELT MASTER BALLS AT THEM BEFORE THEY USE SELF DESTRUCT

[jstor]

Feeling superstitious this Friday the 13th?

Superstitions, magic, and witchcraft have deep historical roots, spanning across cultures and civilizations. Rooted in the human quest to understand and control the mysterious forces of the world, these practices often involve rituals, symbols, and beliefs that go beyond the realm of empirical evidence.

Superstitions are often cultural traditions or irrational beliefs, while magic encompasses rituals and spells believed to harness supernatural powers. Witchcraft, historically associated with individuals, often women, who were thought to possess magical abilities, has a darker side marked by persecutions. The infamous witch trials, such as the European witch hunts of the 15th to 18th centuries, resulted in the persecution and execution of thousands.

Fear of the supernatural, religious fervor, and social tensions contributed to these dark chapters in history, underscoring the dangers of unchecked superstition and the persecution of those labeled as practitioners of magic or witchcraft.

Learn more on JSTOR in "Superstitions, Magic, and Witchcraft," an open access chapter from The Consistory and Social Discipline in Calvin's Geneva.

Image credit: A Postcard Wishing Good Luck Illustrated by Various Lucky Charms. Chromolithograph. From the Wellcome Collection on JSTOR.

[bringbackwendellvaughn]

[curtvilescomic]

Calvin & Hobbes by Bill Watterson

[irregularbillcipher]

need to redraw this with calvin and louise sometime

[nochd]

Possibly also worth a small note: after its 20-year break following Luther's thesis, witch-hunting comes back in a massive century-long pulse as Catholics and Protestants compete over which church is more zealous about it. The carnage is heaviest in the Holy Roman Empire.

Me, starting a video that says it's going to explain how Victorian poorhouses fucked up the concept of charity forever: ok, show me what you've got

Video: it starts with the ideas of the Christian philosopher --

Me: DON'T SAY IT DON'T FUCKING SAY IT

Video: -- John Calvin

Me:

[formlines]

Xwixwi (Sea Eagle) Mask

Calvin A. Hunt

from the website: XwiXwi masks originated from the Sxwaixwe, a sacred Coast Salish mask. Though the Salish have many spirit dances and songs, the Sxwaixwe is their only dance mask. Imbued with great supernatural powers, this underwater being was associated with healing and rumbling earthquakes. The Sxwaixwe mask had large peg eyes, no lower mandible, and bird heads for a nose and above its forehead. The dancer carried a large scallop shell rattle.

Nearly 150 years ago, the Kwakwaka’wakw acquired the rights to the mask from the K’ómoks people as part of a marriage dowry. They modified the unique Salish mask to create their own special version of the XwiXwi.

"Our versions of the mask are quite a bit different from the Salish, but it has some of the influences of the Sxwaixwe. On my mask, the red sticks on the side of the mask and the surrounding feathers were inspired by the typical Sxwaixwe form. The wool is similar to the dog wool that was used on those masks and in making Salish ceremonial blankets and tunics. Those dogs are extinct now, so I’ve used commercial wool to reflect the Salish history behind the XwiXwi." —Calvin Hunt

This mask is about 78 cm wide or 30 1/2 inches with feathers or about 35cm or 14 inches without, 68 cm tall or about 27 inches with feathers or 37 cm without, and about 19cm or 7 1/2 inches deep.

[nymphoutofwater]

Here's a remade masterpost of free and full shakespeare adaptations! Thanks @william-shakespeare-official for this excellent post. Unfortunately, a lot of the links in it are broken, so I thought I'd make an updated version (also I just wanted to organize things a bit more)

Anthony and Cleopatra: ~ Josette Simon, Antony Byrne & Ben Allen - 2017

As You Like It: ~ At Wolfe Park - 2013 ~ Kenneth Brannagh's - 2006

Coriolanus: ~ NYET Alumni - 2016 ~ Tom Hiddleston - 2014 ~ Ralph Fiennes - 2011

Cymbelline: ~ Michael Almereyda's - 2014

Hamlet: ~ David Tennant - 2009 ~ Ethan Hawke & Diane Venora - 2000 ~ Kenneth Branagh's - 1989 ~ BCC's Part One & Two - 1990 ~ Broadway - 1964 ~ Christopher Plummer - 1964 ~ Laurence Olivier's - 1948

Henry IV: ~ BBC's Part One & Two - 1989 ~ The Brussel's Shakespeare Society's - 2017

Henry V: ~ The BBC's - 1990 ~ Laurence Olivier's - 1944

Julius Caesar: ~ Phyllida Lloyd's - 2019 ~ The BBC's - 1979 ~ John Gielgud - 1970

King Lear: ~ The RSC's - 2008 ~ Laurence Olivier - 1983 ~ The BBC's - 1975 ~ James Earl Jones - 1974 ~ Orson Wells - 1953

Love's Labour's Lost: ~ Calvin University - 2016

Macbeth: ~ Antoni Cimolino & Shelagh O'Brien's - 2017 ~ Ian McKellen & Judi Dench - 1969 ~ Sean Connery - 1961

Measure for Measure: ~ Hugo Weaving - 2019 ~ The BBC's - 1990

The Merchant of Venice: ~ Al Pacino - 2004 ~ Trevor Nunn & Chris Hunt - 2001 ~ The BBC's - 1980 ~ Lawrence Olivier - 1973

The Merry Wives of Windsor: ~ The Royal Shakespeare Company's - 1982

A Midsummer Night's Dream: ~ Oliver Chris & Gwendoline Christie - 2019 ~ City of Columbus's - 2018 ~ Julie Taymor's - 2014 ~ The Globe's - 2013 ~ The BBC's - 1988 ~ Lindsay Duncan & Alex Jennings - 1986

Much Ado About Nothing: ~ Shakespeare in the Park - 2019 ~ David Tennant & Catherine Tate - 2011 ~ Kenneth Branagh - 1993 ~ The BBC's - 1984

Othello: ~ The BBC's Part One & Two - 1990

Richard II: ~ David Tennant - 2013 ~ Deborah Warner's - 1997 ~ The BBC's - 1978

Richard III: ~ Ian McKellen - 1995 ~ Laurence Olivier - 1955

Romeo and Juliet: ~ Simon Godwin's - 2021 ~ The BBC's - 1988 ~ Laurence Harvey & Susan Shentall - 1954

The Taming of the Shrew: ~ Ontario production? ~ American Conservatory Theater - 1976 ~ Richard Burton & Elizabeth Taylor - 1967 ~ Mary Pickford & Samuel Taylor - 1929

The Tempest: ~ Gregory Doran's - 2017 ~ The BBC's - 1988

Timon of Athens: ~ Barry Avrich's - 2024

Troilus and Cressida: ~ Audio Production ~ This one I found on youtube? - 2016

Titus Andronicus: ~ Anthony Hopkins - 1999

Twelfth night: ~ Texas Shakespeare Festival's - 2015 ~ Alec Guinness, Joan Plowright & Ralph Richardson - 1970

Two Gentlemen of Verona: ~ Katherine Steweart's - 2018 ~ The BBC's

The Winter's Tale: ~ Antony Sher - 1999 (Warning: they don't have a bear...)

Bonuses:

Time Loop Hamlet! (A personal fav of mine)

Rock Opera Hamlet???

Shakespeare animated tales

The Complete Works Of Shakespeare Abridged comedy

Romeo and Julieta: A Día de los Muertos Love Story

There’s also many other Latine Shakespeare adaptations listed in this archive

From the original post:

A Midwinter's Tale, about a man trying to make Hamlet.

Russian Hamlet here

Here's Scotland, PA, the 2001 modern Macbeth retelling.

Rave Macbeth for anyone interested is here.

This one is the Taming of the Shrew modern retelling.

The french Romeo & Juliet musical with English subtitles is here!

Here's the 1948 one,

the Orson Wells Othello movie with Portuguese subtitles there

A Lego adaptation of Othello here.

Here's commentary on David Tennant's Richard II

[ronispadez]

ordered pizza from a small local place and they didnt actually cut it so i've chosen to revert to a wild animal and begin ripping it apart instead of just using a knife to portion slices

[starrystevie]

steve's desperate, okay?

he's officially running late for his first date with linda because he couldn't find his car keys and the shirt he wanted to wear just wasn't working so he had to grab something out of his hamper and throw it on blindly which then messed up his hair and he almost forgot to brush his teeth again but remembered as he opened the front door and-

he only realizes he forgot to put on cologne once he makes it halfway to her house and smells himself. the shirt from the hamper smells stale, not bad, just stale. and steve in his normal, non-rushed state wouldn't have noticed because his trusty calvin klein would have covered it up but today is apparently not a day for things to go right.

with a sigh of frustration, steve pulls into the hook's drugstore a little too quickly and it makes his stomach lurch the tiniest bit before sliding into an open parking sport at the front door. he rushes in, pushing the door open with too much force and books it to the fragrance aisle.

"this is so fucking stupid," he mutters to himself, unable to be heard by any surrounding shoppers over the annoyingly loud jingle playing through the speakers.

steve skids to halt in front of the cologne section, crouching down and scanning quickly over the tester bottles for obsession. once he spots the amber bottle, he yanks it towards himself, spraying as much as he can onto his chest given the awkward angle he's at. as he stands back up, steve pulls his shirt collar up towards his nose and the ball of nerves in his stomach loosens at the familiar smell. he may be late but he feels like he's back in the game.

checking his watch, he sees just how late he is and makes a beeline for the door, nearly running into an older lady with far too many rolls of toilet paper in her tiny arms. as he dodges around her and extends his arm to push open the door, he hears a loud voice over the intercom.

"you're not going to buy anything after stealing cologne?"

steve stops, freezes where he is and frantically turns his head around to spot the cashier grinning at him. he has long hair and a bright red hook's drugstore vest over a denim vest which doesn't look very comfortable. he has chains in his jeans and handcuffs holding his belt closed and a smirk that is trying to kill him and oh-

"wait, stealing cologne?" steve shakes himself back into existence as the old lady pushes by him without dropping a single roll on the way back to her car. "you're going to call me putting on a few sprays stealing?"

the cashier's smile just gets bigger, like a cat hunting down a canary. steve's never felt like a canary before but can't deny that it's an exciting feeling.

"well, on a good day i wouldn't. but i'm bored and you didn't buy a single thing so technically, yes. you're stealing, pretty boy."

steve fights the urge to roll his eyes and put his hands on his hips, so instead he crosses them over his chest, cologne wafting up from the movement and reminding him that he doesn't have time for this no matter how cute the cashier may be.

he makes his way over to the counter, grabs a pack of gum and slams it on the counter. without breaking eye contact with eddie, as his nametag suggests, he throws him a salty smile of his own and pulls his wallet out from his back pocket.

eddie's eyes are a deep brown with a glimmer of something behind them and his hands are covered in rings making his fingers look long and strong. the jeans he has on are ripped on one of the the thighs, showing a hint of a tattoo to match the ones crawling up his arms. steve's no stranger to thinking men are attractive but this guy? he's on a new level. his heart thumps painfully in his chest when eddie's grin grows larger as he watches steve give him a once over. it thumps even harder when eddie gives him a once over of his own.

the clock above the register shows that he's officially 20 minutes late to picking up... laura? lisa?

no, linda. damnit.

eddie looks down at the gum and then back up at steve, quirking up an eyebrow. "i hardly think this monetarily equates to a bottle of cologne but-"

"oh come on!" steve huffs. eddie laughs and it's clear and bright, ringing off the cinderblock walls louder than the annoying jingle that's still playing. whatever fight steve may have had left in him drains away at the sound and suddenly he isn't thinking about the clock anymore. he feels his shoulders fall down to a more relaxed state, feels himself shift his weight on his feet to look more natural than ready to run at a moments notice.

"just kidding, man." eddie rings up the gum quickly and hands it back to steve. "sorry, you looked like you were in a rush. i shouldn't have created a scene just because i'm bored."

steve chuckles. "i'm already supremely late for my date so what's another five minutes. especially if it gets me..." he looks at the gum packet to look at what he even picked up in the first place. "... spearmint freshen-up gum."

"well there you go," eddie says, grin smaller than before, "a perfect thing to get for a date. everyone likes their date to be minty fresh for that first kiss."

it strikes somewhere in steve that he isn't expecting. the beemer is still out in the parking lot running so he didn't have to waste time, his watch on his wrist feels heavy, the scent of obsession overpowering. but he can't make himself move. he wants to stay and talk to eddie, wants to learn about what makes him tick.

"can i borrow your phone?" steve asks. eddie's eyebrows furrow but he reaches for the store phone and places the console on top of the counter.

"for what?"

steve look through his wallet, finding the piece of paper with linda's number on it. holding the receiver between his shoulder and ear, he dials in her number and holds his pointer finger up at eddie, signaling that he'll need a second. steve then brings the finger to his lips and shushes with his cheek pulling up in a smirk. eddie's eyes zero in on the motion and it feels like steve's gone from being the canary back to the cat.

"linda? hey it's steve."

he watches as eddie mouths steve back at him and then nods to himself when he gets the confirmation that it is indeed his name. steve throws him a wink for good measure.

"i know i'm late and i'm really really sorry to cancel last minute but-. oh. yeah, sure. have a good time. okay bye li-."

on the other end of the line, linda slams down the phone without waiting for steve to finish talking and it makes him wince with how loud it is in his ear. he gives eddie a sheepish smile, all toothy and guilt-ridden, and gently puts the receiver back down.

"what was that?" eddie asks with a disbelieving look on his face. steve shrugs.

"she got tired of waiting so she already had another guy lined up to come pick her up."

eddie sucks in air through his teeth and mimes getting shot in the heart. it has steve laughing as he falls over on the counter, hair covering his face. he turns his head to peer up at steve through the curtain of curls, the one brown eye that's visible twinkling in the harsh overhead light.

"was it true love? are you just absolutely heartbroken?"

steve thinks about it for less than a second. watches how eddie curls back up one vertebrae at a time before placing his elbows on the counter and leaning over. watches how eddie's eyes flit between his own and his lips. watches how he focuses on the latter for a little while too long.

"why would i be heartbroken," steve starts. he's being too forward, too brash, but with eddie looking at him that way, he knows he can be. "when you'll probably be on break soon and can make it up to me? you know, for making me even more late and all."

eddie's grin grows wide again. "oh really?"

steve shrugs once more with a playful look of consideration on his face, resting on his elbows to match eddie on the counter. "yes, really. this is your payback for being bored and taking it out on me."

it's later when eddie's on break and steve hasn't left the drugstore in over an hour and they're sitting in his car with bowie playing through the speakers that eddie looks up at him with a look steve knows well.

"you do smell really good, y'know." his voice is softer than steve's heard it all day.

"so are you glad i came in to steal cologne?" steve leans closer over the center console to get into eddie's personal space. there's a hand curling over his bicep and pulling him even closer, their faces only centimeters apart.

"i guess i'll let it slide this time, thief."

and when they kiss for the first time, it tastes like the freshen-up gum they both had been nonstop chewing ever since steve paid for it.

[just-a-multi-fandom-mess]

alice daisy tonner has always found pack to be the most important thing. her various definitions of "pack" have changed over the years, but really, "people who are like me" has always been at the center of it.

first there had been calvin. he was pack before she even knew what that was, the only friend either of them had. back then, she'd thought that pack was people who were together against the world, even when the world is against them too. calvin and daisy (although she was still just alice back then) had stuck to this until she'd failed to protect him, then he'd changed, then she'd changed, and then he wasn't pack anymore.

she didn't have any pack for a long while after she'd killed calvin.

later, with the police, there was basira. basira was tough, and daisy liked how she could see what to do next in any situation, liked the way she could see how to hunt the next target, liked that she could see ways to stop everyone else knowing what daisy did to the people who'd done wrong. daisy liked a lot about basira. basira seemed to like daisy, too, but she didn't show it much, so it was a bit hard to be sure. most of the time, they were happy as hunting partners, and that's what really mattered. when she was with basira, daisy felt like pack was people who know each other to the deepest depths of each of their hearts. sometimes, though, it felt like basira knew too much, and daisy nowhere near enough.

basira was pack for a long time. still is, really. they'd been closer in the past, but since the coffin she's seemed distant to daisy. daisy's been distant too, so she can't really blame her very much. she's still pack though, probably, even if daisy isn't quite sure that they knew each other all that well in the first place.

even though daisy and basira have been distant since the coffin, jon has always been right there. she hadn't thought of him as pack when they first met, quite the opposite. she'd thought of him as prey. still, he'd trusted her, and he'd pulled her out of that horrible crushing hellscape which had held her captive for those eight long months. she is grateful for that, grateful to have someone who trusts her, who knows what the prison of crushing earth had been like, who feels the same hunger as her and who could help her resist.

she knows now that thinking of him as pack is dangerous, that by defining her relationships that way can only lead her further into the crushing jaws of the hunt. nevertheless (his fancy talk is even starting to rub off on her), she can't help but count him as one of her own. that's what pack is, she thinks, people who understand each other's struggles and can be together in pain.

jon talks about martin, sometimes. as they help tease out the knots in each other's hair, constantly matted due to never taking care of themselves, he tells her stories of when they were first in the archives. sometimes he can't think of anything good to say, and daisy puts the archers on for them to listen to before he starts to spiral into self loathing again. even through all of jon's stories, daisy never talks about basira. it feels rude, seeing as she's right there, and besides; they don't have as many good memories as daisy always thinks they do.

sometimes they don't talk, don't listen to anything, don't do much at all. they just lie on the floor curled up together, in the middle of jon's office, trying to stave off the hunger. being together helps. basira doesn't really like it when they do that, says they aren't being "useful" enough, but daisy just gives her a look, and she leaves them alone.

she's not exactly happy, but anything is better than how it used to be. jon knows her, probably even Knows her, and she knows him. they understand each other. it's just them against the world now. she is someone who is like him, and he is someone who is like her. it's nice. it's pack.

[jeezlouiseoncheese]

Honestly, I feel like Basira being in a teaching position makes so much sense with her character, because like being a cop it comes with a position of authority (that can be abused) but it’s also clear that Basira is someone who wants to help people, even if in TMA that led her down a path where she did the opposite. So her choosing education in this one, especially ones higher up like a deputy headmistress— where you both have more power and respect but as a result more ability to create positive change— is actually a really great reflection on who she is as a person and her values.

(and now it’s making me wonder where Daisy would be in this universe— then again, she probably wouldn’t even be Daisy because she wouldn’t have had that experience with Calvin Benchley and such. But I think that also means she could be working in a completely different place since I feel like the Hunt had a lot more of an influence for her becoming a cop than Basira did.)

[littlewrensx]

"You're no fun." She teased, sticking her tongue out at him. "Maybe when we get the new house and have a spare bedroom we could look into it." Of course that would mean trying for a baby to be put on the back burner. Taking her phone back, she looked at the last one again. "I say we at least look at all three just in case. But I agree I like the last one the best. When is best for you to go see them with me? Or do you want Wren to go with me to see the first two and you go see the last one with me?"

"We could go on a cruise one time with Mia. Maybe a little bit bigger for her but I could see it." He would like to do that with his daughter. "No I mean it's worth looking into." He mused but then Archer took her phone and looked through the houses the realtor sent over. "I like the last one, the first two I wasn't so much of a fan of. We'd have to renovate a lot to get it open and to get your dishwasher." He mused.