#Gabriela Jauregui

[leer-reading-lire]

JOMP Book Photo Challenge || October || 11 || Diversity

[herbarium-riso]

Jan Verwoert, Angel Nevarez, Valerie Tevere, Bassam El Baroni, Rana Hamadeh, Claire Tancons, Pauline Boudry, Renate Lorenz, Federica Bueti, Abraham Cruzvillegas, Kathy Acker, Federico Campagna, Gabriela Jauregui, José M. Bueso, Sally Gutierrez, Christopher Kullenberg, Dick Higgins »Move… ment« Book Works, London, 2013

[elcorreografico]

ABSA inauguró el “Bosque de la Memoria” en homenaje a desaparecidos en la dictadura

#ABSA inauguró el “#BosquedelaMemoria” en homenaje a desaparecidos en la dictadura #Ensenada #Institucionales #Política

En un acto realizado en la Planta Potabilizadora Donato Gerardi que ABSA tiene en Punta Lara (Ensenada), el presidente de la prestataria Germán Ciucci, inauguró el “Bosque de la Memoria”.Para ello, ABSA dispuso para tal fin un predio de 300 metros cuadrados, en el que se plantaron 10 árboles de especies nativas donados por la OPDS, en el marco de la campaña nacional “Plantemos Memoria” que…

[harmosxstuff-blog]

like this post if you save

[dochrcid]

𝗦𝗜𝗘𝗧𝗘 𝗠𝗔𝗥𝗔𝗩𝗜𝗟𝗟𝗔𝗦 𝗦𝗘𝗚𝗨𝗡𝗗𝗔 𝗚𝗘𝗡𝗘𝗥𝗔𝗖𝗜𝗢́𝗡

𝗦𝗔𝗡𝗧𝗜𝗔𝗚𝗢 𝗙𝗘𝗥𝗥𝗘𝗥. brujo, 27 años .fc:Louis Garrel

Santiago es hijo de Gabriela Ferrer,  y de un hombre que desapareció de repente. tenía apenas dos años cuando ocurrió el incendió en la academia. sus poderes son: transmutación, la cual desarrolló desde el año y medio, por lo que fue un dolor de cabeza y una constante preocupación para su madre y  telekinesis, que descubrió a los 4 años. sus habilidades secundarias son: herbolaria, le resulta fascinante lo que las plantas pueden ofrecer,  y  proyección astral. desde muy joven tuvo sus primeras experiencias con esta habilidad, y fue casi como una manera de escapar de vez en cuando. estudió biología, y a pesar de que las leyes y la politica le interesaban, no quiso seguir los pasos de su familia, por más que lo presionaron para hacerlo. sobre todo su abuela, quien por varios años fue la alcaldesa de maine. pertenece al aquelarre athena. por su madre y por decir que pertenece a un lado, realmente no es algo que le quite el sueño.

𝗦𝗢𝗟𝗘𝗜𝗟 𝗚𝗥𝗘𝗘𝗡𝗦𝗟𝗔𝗗𝗘. bruja. 21 años. melliza. fc:Josephine Langford

Soleil es hija de Evanora Greenslade, nació dos minutos antes que su mellizo Seth. sus poderes son: concilium, adivinación y piroquinesis, poco a poco ha ido controlando sus poderes, cuando era pequeña incendió accidentalmente el invernadero de su madre, heredó el carácter de ella, por lo que es sumamente berrinchuda cuando no se conceden sus deseos. sus habilidades secundarias: espiritismo,  healing y herbolaria. esta ultima herencia de su madre, por lo cual sufrió mucho cuando aquel incendió  acabó con las plantas que tanto adoraba. está estudiado literatura y letras. su personalidad es algo explosiva, es algo rebelde, y adora la libertad. pertenece al aquelarre greenslade y practica la religión wicca.

𝗦𝗘𝗧𝗛 𝗚𝗥𝗘𝗘𝗡𝗦𝗟𝗔𝗗𝗘. brujo. 21 años. mellizo. fc:Froy Gutierrez

Seth, es hijo de Evanora Greenslade, nació dos minutos después que su melliza Soleil. sus poderes son: vitalum vitalis y piroquinesis, esta ultima la comparte con su hermana melliza, descubrió que podía traer de regreso a la vida cuando su hámster hamtaro murió. Seth es de personalidad bastante noble, y espontaneo, es ligeramente egocéntrico, pero tiene un corazón de oro a diferencia de su hermana quien es más dura. una de sus paciones es crear contenido para sus redes sociales.  sus habilidades secundarias: empatía, shapeshifting y magia con espejos. heredó la habilidad de su madre de percibir más las emociones ante el contacto físico. cuando tenía 8 años tuvo su primera transformación a un animal, todavía no puede controlarlo en su totalidad. pertenece al aquelarre greenslade  y practica la religión wicca como toda su familia.

𝗔𝗩𝗬𝗔𝗡𝗡𝗔 𝗪𝗔𝗟𝗟𝗔𝗖𝗘. bruja. 20 años. fc:Kaylee Bryant

Avyanna es hija de Marla Rhodes, y Douglas Wallace. no fue planeada, fue un completo accidente, y su madre estaba dispuesta a suspender el embarazo, pero por alguna razón no lo hizo. le gusta la pintura, la moda y las fiestas. practica la magia oscura como su madre. sus poderes son: telekinesis y piroquinesis,  una heredara por su padre, y otra por su madre, Avyanna es una mezcla de ambos brujos en cuanto a carácter y personalidad. sus habilidades secundarias: trabajo de sombra y espiritismo. esta ultima es su favorita, le encanta practicar rituales y jugar con los entes. pertenece al aquelarre ignis.

𝗥𝗢𝗕𝗜𝗡 𝗛𝗔𝗥𝗧. bruja. 22 años. fc:Dua Lipa

Robin es la única hija de Lana Hart, fue una gran sorpresa cuando su madre anunció su embarazo, debido a que en ese momento estaba de gira por su ultimo disco. estudia artes, y le gusta mucho la música como a su mamá. todavía no sabe si va a dedicarse a la música, pero es algo que la identifica completamente, ha compuesto varias canciones, y modelado para algunas marcas. admira y adora a su madrina Paris aunque tenga un carácter difícil. y la ve como una segunda madre. sus poderes son: sus habilidades secundarias: inuisibilitas, magia con espejos y empatía. le gusta mucho jugar con las ilusiones, crear escenarios fantásticos, y explorar las emociones de las personas. pertenece al aquelarre pheme. como su mamá. 

𝗡𝗬𝗫 𝗠𝗢𝗥𝗗𝗥𝗔𝗞𝗘 bruja. 23 años. fc:kelsey chow

Nyx es hija de Joan Mordrake y Karla Morales. su padre es un donador de esperma anónimo. tiene un hermano menor llamado Zadkiel.  trabaja de barista en un café de la ciudad, pues dejó sus estudios inconclusos al no querer entrar a la universidad. le gusta viajar por el mundo y disfrutar de lo que la vida le ponga enfrente. en sus poderes son: adivinación, espiritismo y descendum  de este ultimo estuvo a punto de no volver, lo cual causó pánico en sus madres. se le da muy bien la adivinación, en sus tiempos libres hace sesiones para leer las cartas. sus habilidades secundarias: brujería de cocina,  y shapeshifting. tenía 13 años cuando descubrió que podía cambiar de forma, fue un momento traumatico para ella, y aun le cuesta aceptar esa habilidad. pertenece al aquelarre orbona. por sus madres

𝗗𝗔𝗠𝗔𝗥𝗔 𝗕𝗔𝗡𝗞𝗦 bruja. 22 años. fc:lauren jauregui

Damara es ahijada e hija adoptiva de Leisha Banks, la madre de Damara era mejor amiga de la bruja, ella murió cuando la primogénita era muy pequeña, al Leisha no poder tener hijos debido a su utero hostil, decidió criar a la hija de su mejor amiga, fue algo difícil, ya que la niña tenía demasiadas preguntas, y las cuales tuvo que pensar bien como responder. sabe que no comparte sangre o algún gen con Leisha, aún así la ama con todo su ser, pues la considera su madre. esta estudiando música, pues en sus palabras, da a conocer su alma con sus canciones. es activista, desde pequeña  a hecho pública sus posturas políticas y ha participado activamente en diferentes protestas.  sus poderes son: concilium el cual usa a su conveniencia, y adivinación. Leisha le ha enseñado mucho sobre ello.  sus habilidades secundarias: trabajo de sombra y  otros tipos de adivinación. practica el vudú y la santería, adquirió el gusto a esta después de mirar un documental. al inicio no pertenecía a ningún aquelarre, pero después Leisha la invitó a integrarse al aquelarre leveau.

[peppermintstranger]

Hi Pepper! I'm looking for a girl that could be Tom Holland's sister and another one that looks like lauren jauregui. Love ya, bye!

Hello!

· Tom’s sister: Kaitlyn Dever, Sami Gayle, Allie Barrett, Sija Jure, Emma Kenney, Maisie Williams.

· Similar to Lauren: Katherine Langford, María Gabriela de Faría, Zoe Levin, Elizabeth Gillies, Jessica Green.

Hope it helps c:

[maggiedits]

como vc ta mo? fala um pouco sobre vc!

Ai amor, eu sou meio sem graça, meu nome é gabriela, mas pode me chamar de gabi ou gab, sou fã de muitos artistas e séries, como: Ariana Grande, Selena Gomez, Lauren Jauregui, Taylor Swift, (Maggie Lindemann hahah) e séries como: Stranger Things, Sex Education, Euphoria e etc, vivo no twitter e tumblr, tenho 19 aninhos hahahah, curto muito pop, segundo que eu mais gosto é o indie, q acaba sendo meio pop. Ainda tô tentando me achar nesse mundo, só sei que gosto de arte.

E tô bem até, poderia estar pior hahaha, e vc anjo?

E vcs? Me contem, quero saber!!

[helpersofindie]

hi guys! i was just wondering what y’all’s favorite women of color fcs within the 20-27 yr old age range are?

here are some of my fave woc!

justine biticon (19)

salem mitchell (19)

isabella gomez (20)

dinah jane hansen (20)

lauren jauregui (21)

normani kordei (21)

zendaya (21)

liza koshy (21)

cierra ramirez (22)

kehlani (22)

camila mendes (23)

halsey (23)

sofia carson (24)

victoria justice (24)

ally brooke (24)

aisha dee (24)

yvette monreal (25)

demi lovato (25)

aimee carrero (29)

I really like:

Emeraude Toubia (28)

Ryan Destiny (23)

Isabella Gomez (20)

Brenda Song (29)

Candice Patton (29)

Lana Condor (20)

Victoria Moroles (21)

omg i’m in love with jessica henwick (25). also herizen guardiola (21), aisha dee (24), ashley moore (24), hayley law (25), cierra ramirez (22), nichole bloom (28), nafessa williams (28), alisha wainwright (28), china anne mcclain (19), hailee steinfeld (21), becky g (20), isabella gomez (20), naomi scott (24), kiersey clemons (24), nathalie emmanuel (28), and zendaya (20).

My beautiful ladies that much more appreciation!

Amandla Stenberg (19)

Oriana Sabatini (21)

Valentina Zenere (21)

Kim Jisoo (blackpink - 23)

Jessica Sula (23)

Lee Ji Eun (24)

María Eugenia Suárez (25)

Greeicy (25)

Kim Ji Won (25)

María Gabriela de Faría (25)

Paulina Singer (26)

Park So-dam (26)

Lali Espósito (26)

Rocío Igarzábal (28)

[orbookstore]

Review: Contemporary? Manifestos!

“Today, no one writes manifestos. Who would dare, as the best of them did, to explain the history of humanity in a handful of words?”

So opines Luciano Concheiro in his introductory volume to the series Contemporary? Manifestos! (Mexico City: Gato Negro Ediciones), co-edited by Concheiro and Léon Muñoz Santini. In his overture, Concheiro argues that the disappearance of the manifesto in the contemporary period, as a genre and as a form, lies in the refiguration of time from a Modernist chronovision, which sees time as a vector of progress in which the future is necessarily better than the present, to a static, repetitive moment in which past and future are increasingly troubled, distanced, and uncertain. The chronovision of the contemporary obstructs the discursive spaces of agency that the historical manifesto once inhabited. In an age when previously undeniable beliefs in inevitable progress are under fire, and when the eternal return feels all the more palpable, Concheiro writes, “A contemporary manifesto entails a crack in the ceaseless repetition that confines us. It is an escape from the present that had seemed definitive, eternal.”

The series is composed of newly commissioned texts by the likes of Bruno Latour, Doris Sommer, and Gabriela Jauregui, as well as reproductions of earlier texts, such as the Combahee River Collective’s Collective Statement (1977) and Zoe Leonard’s I Want a President (1992), revivified last year when it was installed on Manhattan’s High Line as a gesture of protest in light of the recent political turmoil. Some texts are more or less straightforward in their polemical, political address; others adopt strategies to disentangle the history of the manifesto from its textual objecthood and rethink what a manifesto might become. Rather than attempt summarizing the nine books included in the series thus far, I want to instead offer some tentative reflections on two broader sets of questions. The first set considers the contemporary as such, and its temporal delineation. How is the contemporary defined? What is it about the contemporary that distinguishes it from other historical periods? And why return to the manifesto as a means of thinking through the contemporary? The second set of questions asks after the manifesto as a genre and textual object. What kinds of futures might a contemporary manifesto propose, and how might a manifesto become a programmatic text in bringing such futures to bear? What kind of present might a contemporary manifesto shape into perceptibility? How do manifestos, considered as a genre, perform and act across contemporary social, political, and aesthetic registers?

What does “contemporary” mean, anyway? Giorgio Agamben offers a definition of the contemporary as a type of disjointed relation to the present: “Contemporariness is ... a singular relationship with one’s own time, which adheres to it and, at the same time, keeps a distance from it. More precisely, it is that relationship with time that adheres to it through a disjunction and an anachronism.” He adds to this a second definition: “The contemporary is he who firmly holds his gaze on his own time so as to perceive not its light, but rather its darkness…. The ones who can call themselves contemporary are only those who do not allow themselves to be blinded by the lights of the century.” Agamben views the contemporary as a position one holds in relation to the present more than it is a block of time or a historical moment.

Certainly the series and its contributors can be read as more or less working within Agamben’s model of the contemporary. After all, manifestos and the writing thereof necessarily demand adopting a position of distance from one’s present in order to articulate a future, with a critical eye towards that which is suppressed in the now. But considered within the parameters of this series, somehow Agamben’s definition feels insufficient, not least because the contemporariness he articulates is essentially timeless and ahistorical; that is, the contemporary for Agamben is not a historically specific era but an ahistorical relationship to a present. This disjunction between one concept of the present and another (the first being ahistorical and relative, the latter being the right now) precludes the possibility of reconciling these two ideas. C? M! is not concerned with articulating the experience of contemporariness in general, but rather very much embedded in the lived realities that unfold through specific cultural, political, and aesthetic concerns.

What are some of these concerns? The series’ takes up a swath of concerns: Bruno Latour laments the ecological destruction of the planet and the ideological apparatuses that allow such activities to proliferate; Gabriela Jauregui extracts elements from iconic historical manifestos and sets out a manifesto that takes as its object the suppression of youth cultures in Mexico and the potentially liberatory politics therein; Alex Williams and Nick Srnicek endorse an Accelerationist politics, which sees the achievements of technology and the sciences as a mechanism to launch a new post-capitalist period.

Environments. Parties. Technology. Such perspectives on the contemporary are supplemented by earlier texts, the reproduction of which in the series evidently suggests that Concheiro and Muñoz Santini are delineating an idea of the contemporary that reaches deeper than merely a block of time (typically viewed as originating somewhere in the eighties) or a relation to one’s lived world. Bringing the Combahee River Collective and Zoe Leonard’s writings into dialogue with other writings might be interpreted as spotlighting their continued relevance to current cultural and political discourses, in an era that has largely failed to heed the calls to action put forth all those years ago. That is to say, their reproduction emphasizes their contemporaneity with issues and topics that continue to plague the present.

What distinguishes a manifesto from other texts is not always obvious. In her historiographical survey of manifesto writing, Galia Yanoshevsky notes that manifestos have emerged through a plurality of forms and voices. Such plurality is evident in the C? M! series itself, which veers from the essayistic to the poetic. In his introduction to the anthology, “100 Artists’ Manifestos”, Alex Danchev notes that Marx and Engels were deeply interested in the “poetry of the revolution” while writing The Communist Manifesto, concerned not only with expressing a political statement but also in the mode of expression itself. Then there is the occasionally hazy distinction between political and aesthetic manifestos, and the discursive strategies and tropes used to express their respective aims. Concheiro’s introduction posits the manifesto as a particular kind of discourse that aims to, “construct the agent of change that will launch the necessary time-acceleration and eventually bring about the desired future.” Manifestos thus differ from other texts insofar as they are, to some degree, calls to action, written gesture that seek to make a direct impact in bringing about some possible future. Concheiro goes further when he writes that “manifestos are discursive games that enable a critical, practical imagination to be exercised.”

And yet one particularly prominent form with a decidedly contemporary sensibility troubles this definition: the lexicon. The lexicon is granted a privileged place, featuring in Doris Sommer’s and Abraham Cruzvillegas’ respective contributions. Sommer’s lexicon adopts language from a variety of origins, and it is presented as part of an ongoing effort to develop the vocabulary and hence the conceptual apparatuses with which to build a shared language and politics. In her preamble, Sommer notes that earlier lexicons, such as Raymond Williams’ Keywords and Roland Barthes’ A Lover’s Discourse, also adopted the alphabet as a means of ordering language in the wake of a breakdown in communication, an “arbitrary disorder with the democratizing effect of liberating words from hierarchies of cause and effect, structure and superstructure.” Cruzvillegas admittedly describes his contribution as an index, rather than lexicon. Working with the concept of autoconstrucción, or self-construction, Cruzvillegas nevertheless also sees language as a tool as he provides a vocabulary, defined by reference to individual experiences, with which to construct, partially or sporadically, new concepts and relations.

The lexicon feels distinct from other iterations of the manifesto genre. For unlike a manifesto, which is often combative in tone and programmatic in content, lexicons resist the linearity of writing and the argumentative, logical structure of propositional thought. Its elements are necessarily fragmented, partial, and discrete. It does not instruct, it does not provide a path, nor does it articulate the kind of future that ought to come into being. That is, the lexicon does not perform in the way a manifesto has traditionally been viewed as performing. Rather, a lexicon is primarily a tool, much like a dictionary, giving its users, rather than readers (after all, who reads a dictionary?) the language and vocabulary to express a range of new ideas pertinent to the present moment and capable of building up a future. The lexicon is certainly alluring in the contemporary moment, when the present is feels untenable and the future foreclosed. But the lexicon is also a way of skirting the question of what kind of future we ought to collectively work towards, for while its content might hint at a direction, it also risks co-optation by those who might wish to preserve the status quo.

- Weiyi Chang, February 2018

Gato Negro manifestos: each $10, softcover

[pausitaac]

Tsunami es un libro en el cual Gabriela Jauregui le pidió a distintas mujeres que escribieran sobre lo que era para ellas el ser mujer, y aquí está el el resultado en 212 páginas.

“Tsunami.” Web. Sexto Piso. Revisado en <https://sextopiso.mx/esp/item/420/tsunami> [Acceso 22 abril 2020].

[ofgvbrielas-blog]

what is up everyone?? i’m lydia and i’m super stoked to bring you gabriela. she’s a v quiet but v selfless girl. tbh i’m so trash about this and this intro is a mess but i’m always down for any sort of plots, so pls feel free to hmu or like this if you’d like to plot!

( death tw )

&&. LAUREN JAUREGUI | SHE/HER | CIS-FEMALE —— that is GABRIELA ESPINOZA the TWENTY-ONE year old who is a SAILING MASTER on board poseidon’s curse. it is rumored that gabriela is ALTRUISTIC && RECLUSIVE. while on board, gabriela is watching MARIA TORRES until the ransom comes through

she was born in havana (ooh nah-nah) to a v poor family and spent most of her time trying to take care of her family instead of actually being a kid tbh

unfortunately her mom and sister died when she was seven due to malaria. it was really hard on her and her dad esp bc they asked the doctors and the higher nobles to help and they didn’t

so she and her dad smuggled themselves to nassau on a trade ship

her dad opened a tavern that was quite successful and that was gabriela’s first exposure to rogues and pirates alike. as she matured and continued working for her dad as a barmaid she learned a lot about the west indies sea

sometimes her customers would leave nautical maps laying around so she’d take them and study them for hours

oh yeah and she taught herself to read so she could do business numbers for her father’s business

once she was eighteen she left her dad in nassau and joined one of crews that had plans to try and raid the spanish army

from then on she hopped from ship to ship before finally ending up on the poseidon’s curse

oh yeah a little bit about gabi...

she doesn’t talk that much like if she doesn’t know you she won’t talk to people she doesn’t really know unless she absolutely has to it’s because she’s scared of her words being used against her

she’s someone who believes in the best in everyone

she also has a tendency to get angry at times esp when people aren’t doing things right she’s just like ??? r u slow in the head

she’s lowkey a snake like if you tell her something really juicy she might tell all her very small group of friends

also lowkey a savage

she does tell great jokes tho

will literally take the blame for any of her friends if it comes down to it

she loves listening to people talk rather than telling her own life story

miscellaneous facts & wanted connections:

she’s an aries, born on april 5th

her moral alignment is true neutral - she barely has a moral compass 

she’s an isfp - also known as the adventurer

she keeps a journal where she literally writes down everything that has ever happened to her and honestly? there may or may not be a section that makes fun of every single person on board

bitch loves her sea shanties more than she loves herself catch her ‘singing drunken sailor’ or ‘leave her johnny’ on a good day (yes i’m assassins creed iv: black flag trash do not judge)

says she doesn’t have a preference when it comes to sexual orientation, but really she likes girls like a lot cause she’s only been with girls

WANTED CONNECTIONS

her best friend: the only person that she really trusts with her secrets and how she’s really feeling. they’re probs attached at the hip too and do everything together. { open }

former fling: she and this girl had a thing for a while and used to hookup a lot? they kind of died out tho and they’re still on good terms and laugh about the times they actually liked each other { open }

the bad influence: someone who is not a good friend for gabi but they’re still friends anyway. this person probably gets gabriela hella drunk on purpose. { valeria flores }

the good influence: alternatively, this person is a good influence for gabi and she really looks up to them as a friend. { open }

saltmates: they bond over hate over a certain thing and spend all their time complaining about it. { open }

best friend turned enemy: they used to be so close and now they hate each other bc gabi probably said something behind their back or they betrayed gabi’s trust #yikes { open }

unlikely friends: preferrably with a royal. their personalities and their morals clash but for some reason they end up being friends? cool beans. { open }

[siri-gurudev]

yesterday, i had the pleasure to have a writing workshop with the fabulous @gabjaureguii at the @contemporaryatx as a creative response to the exhibition Hi, how are you, Gonzo by Abraham Cruzvillegas. it was great. lean todes a Gabriela Jauregui, está genial. (at The Contemporary Austin-Jones Center) https://www.instagram.com/p/BxkaweuJUsDOk0EBcUO89mMZrPeaarK18CmJLA0/?igshid=1d2siq0ce5fca

[debauchedhq]

ACCEPTED! — welcome to debauched, marty mirez & gabriela ruiz & lucy lovelace we can’t wait to see you this week on the show; hope nothing too scandalous is revealed. you have eight hours to send in your account here. [ tyler posey & becky g & lauren jauregui are taken ] 

📌 did you hear that MARTY MIREZ joined the debauched cast?? they’re a total doppelganger to TYLER POSEY. He is 27 years old and have been working in the industry as an Assistant to the CFO for Two Years. lucky for you, they’re PAN and POLYAMOROUS. i heard they’re into BONDAGE, PUBLIC SEX, EXHIBITION, but i’m not sure. they claim to be CHILL but i heard they’re also UNRELIABLE, so i guess we will find out this week on debauched!  [ MAXXIE, 19, HE/Him, Central]

📌 did you hear that GABRIELA RUIZ joined the debauched cast?? they’re a total doppelganger to BECKY G. she is TWENTY-TWO years old and have been working in the industry as a HAIR AND MAKEUP ARTIST for 4 YEARS. lucky for you, they’re BISEXUAL and MONOGAMOUS. i heard they’re into KNIFE PLAY, HUMILIATION, and BONDAGE, but i’m not sure. they claim to be CONFIDENT but i heard they’re also NEEDY, so i guess we will find out this week on debauched! [ s, 21, she/her, est ]

📌 did you hear that PEPPER FORSYTH joined the debauched cast?? sorry, you probably know them as LUCY LOVELACE; they’re a total doppelganger to LAUREN JARUREGUI. she is EIGHTEEN years old and have been in the industry for SEVEN MONTHS. lucky for you, they’re PANSEXUAL and POLYAMOROUS. god, i wonder what their next video will be of; probably FACESITTING, GROUP SEX, or MASTER/MISTRESS PLAY. they claim to be RELAXED but i heard they’re also HOTHEADED, so i guess we will find out this week on debauched! [ tea, 26, est, she/her ]

[helpersofindie-archive]

can you please give some suggested faceclaims for a woman who could portray La Llorana, or the weeping woman from the Hispanic urban legend?

Hey ‘nonnie! La Llorona is supposed to be a mother but, as back in the day girls had their children young, here are some pretty ladies that could work as La Llorona:

Isabella Gomez (19)

Lauren Jauregui (20)

Cierra Ramirez (22)

Camila Mendes (22)

Sofia Carson (24)

María Gabriela de Faría (24)

Lali Espósito (25)

Bianca Santos (26)

Seychelle Gabriel (26)

Eiza González (27)

Emeraude Toubia (28)

Naya Rivera (30)

Diane Guerrero (30)

Karla Souza (31)

Odette Annable (32)

Carolina Ramírez (33)

Adriana Lima (35)

Jessica Alba (36)

Morena Baccarin (37)

If you need any more suggestions, feel free to request again! 

[1973hq]

FC ideas for Duela Dent?

hey lovely ! for duela, i can see hayley williams, jane levy, maddison brown, maría gabriela de faría, daisy ridley, merve boluğur, zawe ashton, tati gabrielle, rebecca rittenhouse, emma mackey, lauren jauregui, and alexandra shipp all working for her. hope these are helpful !