#Informa Records

[stardust-bridges]

Club Furies Premiere: Fernie - Traverse [Informa Records]

Informa Records presents its new release. The Glasgow-based label, led by Deepbass, and creator of hypnotic techno, presents Fernie. Owner of Space Textures, and curator of the Monument podcast series, he presents his long play called Stratus, which confirms the mastery of the Glasgow artist in his deep techno-entrenched sound. This album showcases Fernie‘s signature atmospheric sound, guiding…

[indefinite-pitch]

Fernie - Anjin

[tiziri-art]

I know I'm just simply obsessed with characters that tend to be researchers especially when they're focused on history (raifort and briar are also among my crush, in one piece i got lilith) but lords this is so important for me 🥲

I wanna know everything that goes on in his little brain if i can't just have him next to me

[morimakesfanart]

Sindria's Prophet #40

[1] [2] [3] [4] [5] [6] [7] [8] [9] [10] [11] [12] [13] [14] [15] [16] [17] [18] [19] [20] [21] [22] [23] [24] [Intermission] [25] [26] [27] [28] [29] [30] [31] [32] [33] [34] [35] [36] [37] [38] [39]

[AO3] [wattpad]

*Sinbad goes yandere off and on *Sinbad goes to horny jail *Major spoilers for the Adventures manga ~POV Mori~ The King left with the first few fate scrolls and I dropped onto my new sofa. Even after the curtain covering my doorway stopped moving I couldn't look away. 'Does he mean it? ...Actually, what was "it" in that question? His willingness to change his path, or what he pressed me on before that? ... But Sinbad never falls in love or gets married.' I could try to deny which part was hitting harder all I wanted until those feelings made themselves into words I couldn't look away from.

There was no way I was going to get any meaningful progress done for the rest of the day, but I also couldn't bring myself to move. Only the ringing of the Great Bell was able to break the looping conversation in my head. ---

During the meeting the next morning I couldn't stop myself from watching Sinbad. 'How much of the scrolls did he read?' There wouldn't be anything actually useful for him for a few scrolls so that could be why he looked the same. Regardless, my heart couldn't stop racing every time I remember everything else that happened around his request to take the scrolls.

Eventually I couldn't hold back my curiosity and a few days later I asked him what he thought of the scrolls at lunch. He got a nostalgic expression, and put down his food. "I was surprised to see you wrote that much about my parents. I don't have many memories of my father so it was... nice to read about him."

"I see." I wasn't sure how else to respond.

The nostalgic look in his eyes left but I couldn't tell what it was replaced with. It reminded me of when he was analyzing new information to make some type of plan. He moved the conversation along the timeline and eventually asked, "Is what you wrote about Yunan true? He really has the memories of multiple lifetimes?"

I nodded with my answer, "Yes. Having to experience the continuous ups and downs of history first hand is what made him so jaded."

"I see." Sinbad immediately switched topics to the adventures recorded in the scrolls and talked of feeling nostalgic but it didn't touch his features like it did earlier. At least his laugh seemed genuine. "Reading about how I handled Sassan and Artemyra made me realize just how little I cared about the basic rules of nobility. It's no wonder Ja'far was always so stressed."

I almost had a spit take. "That's putting it lightly." He used force to back their leaders into a corner and then said 'Join me in the name of peace.' --- ~POV Sinbad~ The King had hoped for more detailed answers. It was clear that the section about Yunan had been rewritten to remove something important. But that wasn't the only reason. In a later scroll, he read about his own experience in learning what Magi are. When he realized Yunan, a Magi, had chosen him it only made him more certain that he was chosen by Fate, and his gift of the waves was undeniable proof that he was special. His Beautiful Prophet did not hold back when she wrote: 'his illusions of grandeur reached a new height and were undeniably why he would fall into traps made by his own greed just as much as by those wishing for his downfall.' Knowing what would be covered in the next few scrolls made those words hit harder. It also made him hesitate to retrieve them from the Prophet.

Mori was getting better at hiding the aspects of Fate she didn't want anyone to know. If he pushed, it would become obvious what he was actually looking for: clues about the 2nd Calamity as well as his own death. At least Mori's answers confirmed the thoughts he had reading the scrolls. As soon as lunch was over, Sinbad instructed Ja'far to gather as much information as possible on Yunan and, more importantly, any information about the past Kings chosen by magi. There was an important clue there; he could feel it. ---

~POV Sharrkan~ The King dismissed all but the first generation of Household Members from the meeting room. Spartos dutifully left to return to his post, and Yam returned to the Magician's Tower with Mori. Meanwhile, Sharrkan and Pisti roped Masrur into staying back with them to eavesdrop. Ja'far was the first to speak. "We've narrowed down the options to 3 rooms for Mori," he sighed, "but I have a feeling you won't pick any of them." A pit formed in Shar's stomach, 'Wait. Doesn't Mori already had an office?' Their King laughed. "I'm sure they're all good options, but I still say the rooms next to mine would be the best." "Right." Hina teased, "Because Mori's going to be real happy when they realize you put them in the Queen's Suite after they rejected you." 'Nonononono!' Pisti and Masrur both gave Sharrkon pity pats. The shorter of the 2 struggled to suppress her giggles.

When the Palace was made, Sinbad said he didn't want a Queen's Tower or Harem built because he'd never want either. The lack of a Harem was eventually accepted, but Sin couldn't deny that the Kingdom would someday need an official heir so the Queen's Suite was made to placate the voices he couldn't convince. However, nothing short of the threat of war had a chance of putting someone in those rooms, until now. "They confessed their feelings for me first. It'll be fine." Sinbad defended his decision. "In time, Mori will realize that my feelings aren't going to change and all of this will be a thing of the past, won't it? I just want to make sure they're safe and comfortable while I'm out of the country." 'Damnit! If Mori actually likes Sin, then repeatedly coming on to her would definitely prove that his feelings weren't changing.' ((Boy no... (⁠ಠ⁠_⁠ಠ⁠)⁠>⁠⌐⁠■⁠-⁠■)) Shar was about to lose the last bet and there was nothing he could do about it. The only bright side was that this could give him the answer of how to finally get Yamuraiha to turn his way. Drakon countered Sinbad's enthusiasm. "While constancy is important, so is respecting consent." The Generals hiding outside pictured his serious expression in their heads. "Forcing them to fill the position in all but name will only make them hate you." "Augh." Sinbad groaned in time with Sharrkon. "I know, but what am I suppose to do then?" The Womanizer of the Seven Seas asked with not even a fraction of the despair his protegee was feeling. "Well, for one thing," Ja'far gave the first recommendation, "you really need to stop asking for call girls and flirting all the time." "I know. That's-" Sinbad started. "A decade and a half of cleaning up your messes is reason enough, Sin." Ja'far continued. "I don't know what Mori told you, but did you forget what they said back in Balbadd? How they'd never fall in love with a womanizer? They might not care while they're just flirting with you, but that's very different from being in a relationship." No wonder the Prophet had brought up Yam saying the same thing to Sharrkan... Sin tried again. "I know. That's-" Drakon agreed with his fellow General. "For a man to prove his character, he must show what type of partner he will be before he ever enters a relationship." "Which is why I-" Hinahoho added for good measure, "Think of it this way Sin: which of us here have actually had happy marriages?" "JUST WHAT TYPE OF MAN DO YoU TaKe Me for?!" Sinbad's voice booming was followed by a thump of him crashing back into his chair. "Don't answer that!" He paused. "I never wanted to get married before so it wasn't a problem until now!" He sighed loud enough to be heard outside the room. "Mori told me directly that they don't believe my advances because of reading my Fate, so I've already been working on it! Ja'far!" He was probably pointing at him. "How many complaints have you gotten about me in the weeks since the Announcement? I know I haven't been requesting any call girls recently either." There was a short silence. "Now that you mention it..." Ja'far mumbled something that Masrur explained was counting under his breath. "There were a few in the days right after, but those were about things that happen at or before the Announcement." Sharrkon wanted to cry. Or at least get a drink. Hina and Rurumu were really happy together while she was alive, and Drakon and Sahel are really happy now. Sin had gotten married by accident a few times and would always flee the morning after, but now that he wanted to get married for real, the object of his affections repeatedly turned him down. Womanizing was the problem all along. This was all Sinbad's fault! ---

~POV Sinbad~ Sinbad talked a big game to his Generals, and he meant every word. He had to completely shake those habits if he really wanted Mori to view him as an option. His original plan was to ween himself off of that vice by the time he came back from the Kou Empire. However, Fate had other plans and made him quit cold turkey early. ~flashback~ After seeing Mori recovered, the King struggled with his new intense emotions. He drank himself into a stupor, and only sobered up when the woman leaving his room said, "So... 'Mori' is the Prophet, right? You seemed really close during the festival." She giggled. "Will you just be calling us when she's on her period from now on?" The memory of his actions attacked him viciously. He had called out Mori's name multiple times. In fact, his memory told him that he thought it was his Beautiful Prophet under him in those moments thanks to the alcohol. "N-no." He shrugged her off with a smile. "This will be the last time actually." Why hadn't anyone warned him that this could happen?? "Aw~ that's a shame. I'll let the others know." Sinbad sighed in relief when she left. He knew the fear of death and injury from his adventures. He had even experienced guilt, and regret due to the weight of others' lives on his shoulders. But love was teaching him the hell of humiliation and shame. He knew that his thoughts were turning to Mori more and more at the mere idea of satisfying his libido no matter how he got there, but how could he call out their name when they weren't the one with him? Even worse, how could he mistaken anyone else for his Beautiful Prophet??? Between alcohol and sex, he knew which would be easier to quit -especially since the later would only be until he got his partner of choice to join him.

~flashback over~ At least he had the Fate scrolls to fill his suddenly empty nights for the time being. They weren't nearly as fun, but he'd rather think about the scrolls than why he had more free time. The King cleared his throat. "There shouldn't be any problem with preparing the Queen's Suite for Mori. But if you really think it will be a problem, prepare one of the rooms you've picked as a back up as well." All 3 Generals showed their disappointment, but this was one decision Sinbad wouldn't back down from. He didn't want Mori questioning the sincerity of his feelings if they were given anything less than the Queen's Suite. They were already insecure because of their ex fiancé and Sinbad's own reputation, so he would do whatever he could to remove any shadow of doubt in their mind. ---

~POV Sharrkan~ Sharrkan hit the Prophet's desk and the sound echoed in her office. She looked up shaken and stirred.

"I'll take you!" Sinbad sabotaged Sharrkan's relationship, so fuck 'im! "But I want you to fix something for me in return." If Sinbad does anything because of this it will only drive a wedge between him and 'his Beautiful Prophet.' "You gotta clear up this thing between Yam and me!" She blinked up at him a few times before jumping up. "What- Is this about the- Can we go right now??" "Yeah! Let's go!" ---

~POV Ja'far~ The General walked towards the Prophet's office only to catch a glimpse of them passing between a few book shelves in the opposite direction. "Mori! Do you have a minute?"

"Ah! Um." Mori's voice called back. They mumbled something and then appeared before him. "Yeah. What's up?"

"I wanted to read the Fate scrolls. It seems like they have been enlightening to Sin so far."

"Of course! They're your Fate too." They started to turn away. "Feel free to take them from my office. I'm on my way to a meeting, so I'm sorry I can't show you this time."

Ja'far thanked them before parting ways. It was actually better that the Prophet couldn't be there. Sinbad had mentioned that the scrolls he grabbed went up to their return to Riem which meant that the ones that remained might include the secret Sinbad was hiding -how he truly knew the risks of siding with Parthevia but agreed but agreed to buy the island anyway. The King might have admitted to that mistake, but he still refused to give details.

The scrolls had notes on the outside to explained what they covered, so Ja'far was easily able to find what he was looking for. He brought them to the guest table to unroll.

Before reading, the illustrations caught his attention. The first was of a teen Sinbad standing in front of a cage full of monsters that Ja'far recognized as victims of Parthavia's experiments. In the second, Sinbad was shocked with drawings behind him -they seemed to be depicting what Sinbad was thinking about in that moment. The biggest showed Ja'far beating sense into Sinbad under him. It looked to be around the time Sinbad was freed from slavery. Even before reading, Ja'far was getting an idea of what this was about.

What was written confirmed what Sinbad had admitted that night a month ago. He knew full well what type of person Barbarossa was, and how he treated his own people. But there was one thing Sinbad was very wrong about: his ability to read the waves had nothing to do with his decision to side with Barbarossa.

...Sinbad was desperate to reach the next step towards his dream after all of his recent failures, but he couldn't ignore the horrible truth starring him in the face. If he denied this opportunity to become King there was no telling if he'd ever get another. But if he accepted, he'd be putting everyone that trusted him at risk to the same treatment as the villagers he had left behind when he was 14. In that moment his mind was sent to the only other time he faced something similar. That time he had made the decision to accept the opportunity -risking the lives of the slave children. When he was freed before his plan even finished, he was finally safe enough to be able to see how needless their sacrifice was. There was only so much he could do to make up for his mistake though. While he struggled with the guilt of that decision he was told "Did you think you could realize your dream while keeping your hands completely clean? This is the path you chose." Ja'far had said more in the moment, but that was the line that stuck with Sinbad. If the avoidable deaths of children were something he needed to accept, than surely siding with a violent fascist was also necessary even if it would definitely lead to more victims...

"What is this??" Ja'far was shaken. He grabbed the scroll that would have the full version of the memory that apparently haunted Sinbad. The illustration that had been behind Sinbad in the previous scroll was drawn bigger in this one. He skimmed the surrounding text until he found what he was looking for.

...Sinbad had done all he could to correct his mistake. Making Madaar sign the agreement she had already promised to the Sindria Company only saved the few slaves that somehow survived the massacre. He turned to the one person present that he could rely on. Ja'far looked at him with obvious disdain. The guilt poured over into Sinbad's words, "I knew this would happen if I caused a rebellion..."

Mori wrote out Sinbad's whole self deprecating rant. He struggled to cope with the guilt that he learned from watching Madaar manipulate the vulnerable and became willing to use the exact same techniques. He lamented the irony of his actions and his goals for the future. The rant ended with Sinbad quoting to Ja'far the exact thing he said when he swore his loyalty to him.

"'If you disappoint me, I'll kill you'... I guess it'll turn out like that, huh? As I am now, I have nothing to say about it..." Ja'far had had enough of Sinbad's pitty party and punched him in the face as hard as he could (which was actually kinda impressive with their height difference at the time). "NO... THIS ISN'T A FUCKING JOKE!! SINBAD!!" It wasn't punishment enough to quell his guilt. "But I disappointed you, didn't I?" The person Sinbad disappointed the most was himself. Ja'far beat him until he lay on the ground bloodied and bruised. "What a fucking joke. Disappointed me? Yeah, you disappointed me. You'll take responsibility for everything? You're not taking responsibility for anything are you? You're letting yourself sink into despair, giving up, and, on top of that, having the nerve to act like it's all over..." Ja'far called out his bullshit. "Listen up!! IT'S YOUR NAIVETY THAT DISAPPOINTED ME THE MOST!!"

This was more like what the present Ja'far remembered. Mori wrote his full rant back at Sinbad. Why didn't Sin understand that his point was that he needed to be responsible for the survivors? Ja'far was what? 13 at the time. His wording of things wasn't great, but he had to pull Sinbad back together -Sin could have his breakdown later. Of course dirtying his hands is unavoidable sometimes. But that-

...Sinbad relented and apologized, and would never admit to the pain and guilt he held from this event ever again. He couldn't afford to disappoint everyone relying on him. He was the one chosen by 'the Magi' to become King. Sinbad grew up having to be the rock of his small village since all the men died in war, and the remaining adults were too sickly or burdened. He had long forgotten how to ask for emotional support and the the first person he tried opening up to shut down his expressions of guilt. Sinbad was unable to understand that the timing and choice of person was the problem. Those feelings would fester every time he made another mistake until he was able to fully replace his guilt with the acceptance of 'Fate' as inevitable. He wouldn't be able to acknowledge his own potential for evil for another 15~ years... If Sinbad hadn't admitted to struggling with this directly then Ja'far wouldn't have believed the opinionated portions of what the Prophet wrote. This was what Sinbad was hiding. This was why he refused to explain anything that had happened back then in detail. That last line hinted at the future they were afraid of. If Sinbad was unable to view himself as human until 15 years after that incident, it would line up perfectly with when the 2nd Calamity happens and he dies. These 2 scrolls gave more credibility to that dreaded theory. It would also explain why Mori would agree to be Sindria's Prophet and help Sinbad. Because he refused to ask for help. Because he hid his pain from the very people that swore to support him. Mori offered the help Sinbad no longer knew how to ask for because she already knew he needed it. Mori was the only one able to get Sinbad to defend that he wanted to change a part of how he did things because she was the only one that knew what parts he meant and what not changing would lead to. He needed to talk to Sinbad. Ja'far grabbed all of the remaining Fate scrolls and headed to out to have a very important conversation with the man he had sworn his life to. ((HiHi!! This past round was pretty okay for me :D I only had a small disability ep! Here's hoping this stays the pattern for a while :3 But even better than that is: While working on the next arc (specifically ch42) I hit a new level of healing from my PTSD with my ex. :D I literally felt my brain rewiring when it happened and recognized it from past times it's happened. For the week afterward I was unable to stop being stupid levels of happy. And now I'm frustrate with Mori because they aren't past it yet XD At least I know what I needed so I can write it))

[longliveblackness]

Gertrude "Ma Rainey" Pridgett is known as the Mother of the Blues and is one of the earliest blues singers as well as one of the first generation of artists to record their work in that genre.

Though Ma Rainey sang quite a lot about men, “Prove It on Me,” according to Angela Y. Davis, “is a cultural precursor to the lesbian cultural movement of the 1970s, which began to crystallize around the performance and recording of lesbian-affirming songs."

Went out last night with a crowd of my friends,

They must've been women, 'cause I don't like no men.

Reportedly, the song refers to a 1925 incident in which Rainey was arrested for hosting an orgy at her home involving women from her chorus. Rainey also was rumored to have had a relationship with Bessie Smith, her protege. An ad for “Prove It on Me” winks at these rumors, showing Rainey mingling with women while wearing a menswear-inspired take on a woman’s suit, under the eye of a cop lurking suspiciously in the shadows.

This is remarkable not only for the openness about lesbian relationships, but the blatant nose-thumbing at law enforcement. For all the new sexual openness of the 1920s, queer sexuality was still taboo and heavily policed- even more so for Black and Brown people, and violence from law enforcement was a constant threat.

Rainey’s legacy is one of defiance, independence, larger-than-life glamor, and iconic artistry, even as her power was limited by the white, male- dominated ruthlessness of the recording industry and the confines of a similarly racist and homophobic America. Despite this, she transformed the role of women in music.

Rainey was posthumously inducted into the Rock and Roll Hall of Fame in 1990 for her early influences on today's music industry.

•••

Gertrude "Ma Rainey" Pridgett es conocida como la Madre del Blues, fue una de las primeras cantantes de blues y forma parte de la primera generación de artistas en grabar su trabajo en este género.

Aunque Ma Rainey solía cantar mucho sobre hombres, “Prove It on Me”, según Angela Y. Davis, “abrió camino cultural al movimiento cultural lésbico de la década de los 70, el cual comenzó a cristalizarse en torno a la interpretación y grabación de canciones lésbico-afirmativas.”

Salí anoche con una multitud de mis amigos,

Deben haber sido mujeres, porque no me gustan los hombres.

Según se informa, la canción se refiere a un incidente de 1925 en el que Rainey fue arrestada por organizar una orgía en su casa, en la cual estaban participando mujeres de su coro. También se rumoreaba que Rainey había tenido una relación con Bessie Smith, su discípula. Un anuncio comercial de “Prove It on Me” hace un guiño a estos rumores y muestra a Rainey fraternizando con mujeres mientras usa una versión masculina de un traje de mujer, bajo la mirada de un policía que le está acechando sospechosamente desde las sombras.

Esto es destacable y no sólo por la franqueza sobre las relaciones lésbicas, sino también por la obvia crítica a las autoridades. A pesar de toda la nueva transparencia sexual de la década de 1920, la homosexualidad todavía era un tabú y estaba fuertemente vigilada (aún más para las personas negras y de color), y la violencia por parte de las fuerzas policiales era una amenaza constante.

El legado de Rainey es uno de desafío, independencia, glamour descomunal y arte icónico, incluso cuando su poder estaba limitado por la crueldad de los hombres blancos de la industria discográfica y los confines de un país (Estados Unidos) igualmente racista y homofóbico. A pesar de ello, transformó el rol de la mujer en la industria musical.

Rainey fue incluida póstumamente en el Salón de la Fama del Rock and Roll en 1990 por sus influencias en la industria musical actual.

[mayafitzg]

⠀⠀⠀⠀·⠀bio completa⠀·⠀⠀wanted connections   ·⠀⠀pinterest⠀⠀·⠀time line

MELISSA BARRERA? não! é apenas MAYA MARTÍNEZ FITZGERALD, ela é filha de ANTEROS do chalé 39 e tem 29 ANOS. a tv hefesto informa no guia de programação que ela está no NÍVEL III por estar no acampamento há 10 ANOS, sabia? e se lá estiver certo, MAYA é bastante SAGAZ mas também dizem que ela é RANCOROSA. mas você sabe como hefesto é, sempre inventando fake news pra atrair audiência.

Resumo — background:

Maya teve uma vida atribulada, a genitora faleceu durante o parto das gêmeas (sim, Maya tem uma irmão gêmea) e as duas foram separadas pelo sistema de adoção. Maya, vagou de família em família até a idade adulta, quando foi convidada a retirar-se da instituição e se virar sozinha. Por instinto e vontade de sobreviver, foi fazendo de tudo um pouco, todo trabalho decente que aparecesse no caminho, estava aceitando. Foi num job freelance de bartender que teve seu primeiro contato com o mundo dos deuses, ao ser atacada durante o trabalho e salva por um grupo de semideuses que a levou para o acampamento. Diferente dos filhos do amor, Maya não tem tendências ao encorajamento do mesmo. Afinal, o que ela sabia de amor, quando se sentiu abandonada por todos que poderiam minimamente lhe entregar isso? E como todo bom filho revoltado, a forma que ela conseguiu encontrar para lidar com as frustrações de uma vida de abandono, foi por meio dos treinos, levando-se sempre a exaustão. Como não tinha ninguém a esperando do lado de fora, está no acampamento desde que chegou. Então já estava presente durante o chamado e todo o caos se seguiu após a chegada constante de semideuses.

PODERES: olhar de caleidoscópio: o olhar de Maya é capaz de afetar o oponente de acordo com a coloração que os olhos adquirem, sendo elas: tristeza quando estão cinzas; confusão quando estão laranjas; fraqueza quando estavam marrons (um tom específico, deferente do castanho natural) e medo quando estão vermelhos. A habilidade é limitada a uma escolha por vez, ou seja, durante a batalha Maya não pode ficar alternando cores ao seu bel-prazer. Uma vez que a cor é escolhida, tem a durabilidade de uma hora (é o recorde atual) e só pode ser trocado, duas horas depois de perder o efeito (também, é o tempo atual, ela ainda não explorou um tempo mais curto). 

HABILIDADES: durabilidade sobre-humana e fator de cura acima do normal.

Arma:

sarabi: uma katana feita de ferro estígio. Quando não está em uso, vira um cordão com pingente de mesmo material, acionando-se no momento que a semideusa o retira do pescoço.  scorpion: chicote feito de ouro imperial. seu corpo é trançado com lâminas que trazem a estética de vertebras e na sua ponta, existe uma lâmina maior com aspecto de konai. quando não está em uso, vira um cinto de tonalidade acinzentada que se prende a sua cintura, acionando-se no momento em que o toque sobre o mesmo se faz mais forme.

Extras:

Instrutora de combate corpo a corpo;

Membro da equipe vermelha no clube da luta.

Trivia:

o sobrenome da mãe de Maya é Martínez, ela descobriu isso quando encontrou a ficha no sistema. E por isso adotou o sobrenome, mesmo sem qualquer contato com a mulher, ou familiar que pudesse lhe falar como ela era;

a mãe de Maya também era uma semideusa, filha de Ares;

dessa mesma forma, Fitzgerald é o sobrenome da última família que a adotou. Ela tinha grande carinho por eles, mas como foi devolvida sem um bom motivo (para ela claro), acabou excluindo o nome, mesmo que ele se encontre em toda sua documentação atual;

não tem e não faz questão de ter qualquer relação com Anteros, considerando-o péssimo por tê-la deixado largada no mundo, sofrendo e passando por tudo que passou;

seus relacionamentos sempre acabam de alguma forma ruim, e assim que acontece o termino, não demora muito para u ex encontre outra pessoa que jura ser o amor da sua vida. Maya sempre a dama de honra, nunca a noiva;

é extremamente egocêntrica e não aceita perder (independente do que seja);

se estiver irritada, vai usar o poder, então o mais seguro é manter alguma distancia quando perceber que a morena está com um parafuso solto;

[recvordshqs]

* westbound records informa.

el fallecimiento de don crowlley mejor conocido como 'el rey midas de la música' ha sacudido la escena musical de los angeles dejándonos con más preguntas que respuestas, el trono se encuentra vacío y músicos que han firmado su alma, perdón es decir, contrato con la disquera de crowlley se preguntan si siguiente verdugo mejorará o empeorará la situación en la que se encuentran, mientras aquellos músicos que solamente contaban con promesa verbal entran en pánico, ¿será que boleto dorado al estrellato se ha ahogado junto a su mesías? muchas interrogantes y pocas respuestas, los músicos de westbound están a un pelo de entrar en una crisis, y por supuesto, nosotres, sus groupies del cotilleo, estaremos aquí para informarles de todo, no les pierdan la pista, porque la bomba está a punto de explotar.

main oficialmente abierto.

[tomhardymyking]

WITH 𝗘𝗗𝗗𝗜𝗘 𝗕𝗥𝗢𝗖𝗞'S MEXICO CAP? WONDERFUL 🔥 This photo looks so summery to me 😍💓

It's reported 𝗧𝗼𝗺 recorded six new episodes of 𝑪𝒃𝒆𝒆𝒃𝒊𝒆𝒔 in his garden, with and without 𝗕𝗹𝘂 it seems, and they will be available to watch little by little!

In case you missed my post yesterday, a new never-before-watched episode of 𝑪𝒃𝒆𝒆𝒃𝒊𝒆𝒔 featuring 𝗧𝗼𝗺 and 𝗕𝗹𝘂 will air on BBC on 5 July at 6:50 PM in the UK and 7:50 PM in Spain, to celebrate the 75th anniversary of 𝗡𝗛𝗦 🙏🏻 Lucky those who can watch it at its moment 👍🏻

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¿CON LA GORRA DE MÉXICO DE EDDIE BROCK? MARAVILLOSO 🔥 Esta foto me parece tan veraniega 😍💓

Se informa que 𝗧𝗼𝗺 rodó seis nuevos episodios del programa 𝑪𝒃𝒆𝒆𝒃𝒊𝒆𝒔 en su jardín, con y sin 𝗕𝗹𝘂 al parecer, ¡y se podrán ir viendo poco a poco!

En caso de que te perdieras mi publicación de ayer, un nuevo episodio de 𝑪𝒃𝒆𝒆𝒃𝒊𝒆𝒔 con 𝗧𝗼𝗺 y 𝗕𝗹𝘂 nunca visto se emitirá en la BBC el próximo 5 de julio a las 18:50 en Reino Unido y 19:50 en España, para celebrar el 75 aniversario de 𝗡𝗛𝗦 🙏🏻 Suertudos los que pueden verlo en el momento 👍🏻

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[narkissas]

MARGOT ROBBIE? não! é apenas NARKISSAS GIANNA HAMILTON, ela é filhe de AFRODITE do chalé 10 e tem 30 ANOS. a tv hefesto informa no guia de programação que ela está no NÍVEL III por estar no acampamento há DEZESSETE ANOS, sabia? e se lá estiver certo, GIA é bastante SAGAZ mas também dizem que ela é VINGATIVA. mas você sabe como hefesto é, sempre inventando fake news pra atrair audiência.

BIOGRAFIA: 

Os Hamiltons estão para Nova Iorque como a família real está para a Inglaterra, bastante famosos, podres de ricos e sempre no foco dos holofotes; talvez por isso o escandâlo fora tão grande quando o ator de uma franquia de múltiplos filmes fora avistado por paparazzis com uma jovem muito bela. o produto da paixão avassaladora de verão chegara nove meses após, abandonada nas escadarias de Richard assim que o ator repousara os olhos em Narkissas ele sabia exatamente quem ela era: sua filha, seu sangue e o maior amor de sua vida. o homem que antes era conhecido por ser mulherengo e irresponsável mudou da água para o vinho tornando a menina o centro de sua vida e não demorou muito para que mais uma estrela nascesse nos tabloides: Gia Hamilton, de fotos para marcas de fraldas a comerciais, novelas e logo depois filmes. Gia começou a atuar quando era um bebê e também participou de muitos concursos de beleza, ganhando quase todos que já participou.

Filme após filme, série após série, Gia alcançou a fama numa idade muito precoce e com isso também muita atenção. Aos seus treze anos de idade um estranho bateu em sua porta com uma alegação insana de que a Hamilton estava em perigo e que ele estava ali para levar-la a um acampamento com adolescentes iguais a ela: filhos de mortais e deuses. Gia não acreditou, claro, mas por algum motivo seu pai Richard parecia muito certo de que tudo aquilo fazia sentido. embora com muitas dúvidas Narkissas acabou por atender o desejo do pai de ir para o acampamento mesmo que aquilo não fosse sua vontade e demorou bastante para se adaptar a sua nova realidade, sentia-se constantemente em um dos universos dos scripts que encenava. proclamada por Afrodite pouco depois que chegara, Gia estaria mentindo se não admitisse o quão feliz ficara por ser interligada a deusa do amor.

Como sua mãe Gia também tinha um ponto fraco por um semideus em particular: um filho de Ares pelo qual se apaixonou perdidamente em tempo record até mesmo para a Hamilton. o amor fora retribuído profundamente e eles eram completamente inseparáveis, o relacionamento primeiramente infantil amadureceu aos longos dos anos e Jacob tinha um belo plano em como fazer o aniversário de vinte e dois anos de Gia inesquecível: uma viagem para seu restaurante favorito em Nova Iorque onde pediria sua mão em casamento, entretanto o destino tinha algo distinto para os semideuses, uma empusa atacara os semideuses e Jacob sacrificara a própria vida para salvar Gia. No dia após que perdera o grande amor de sua vida recebera a segunda pior notícia de sua vida ao ser tratada na enfermaria do acampamento, Narkissa estava grávida mas a criança não havia sobrevivido ao ataque do monstro. desolada ao perder quase tudo a única coisa que a ajudara a se manter forte fora seu grande desejo de vingança e desde então treina e se voluntaria no máximo de missões possíveis na esperança de um dia cruzar o caminho do monstro que havia destruido sua vida.

PODERES: manipulação cardiológica

HABILIDADES: previsão e reflexos sobre humanos.

ARMA: agapâo; os brincos de margaridas em suas orelhas se transformam em uma arco preciso com uma fonte ilimitada de flechas que quase sempre encontram seu alvo.

EXTRAS: Líder da equipe azul arco e flecha

[lilithsaintcrow]

"The email explaining the ban says the agency is particularly concerned with internal government data being incorporated into ChatGPT and leaking through its services."

[realcatalina]

Meynnart Wewyck’s workshop-part 6: Hidden in Recueil d'Arras

Sorry guys, I realised this months ago, and forgot to post it.  In part 1, I mentioned the lost Scottish portraits by Wewyck, done c.1502-1503. They seem to have been lost, and we only have Receuil d’Arras(collection of drawings based upon actual portraits, done in c.1570) which shows us aproximately how they looked like.

 We have drawing of James IV, Margaret Tudor, Henry VII and then very rubbed of Elizabeth of York. 

But records from 1502 show one extra painting. Of future Henry VIII. It’d be probably THE oldest portrait of him! As child! But it is nowhere to be found. Or have we been looking at it this whole time?

And if you read further I’ll explain you why this drawing from Receuil D’Arras cannot be the Warbeck. 100%.

This is typical handwriting of Le Boucq, found all over the Receuil d’Arras:

And this is text labelling the drawing of Warbeck as him:

Absolutely no way this is the same hand, and I’d wager not even same century. It’s too readable for modern viewer.

Le Boucq didn’t know who it was. He never made any label for drawing. And let me remind you Le Boucq made the drawing  about 70 years after Warbeck died. Cca 1570.

How could anybody even later than that recognize it as Warbeck? Based upon what?! It’s impossible!

It was an unknown male whose portrait was part of Scottish royal collection(that is clear because of drawings surounding it. First 21 drawings in Receuil d’Arras were from(in) Scotland, even though not all sitters of those paintings were. Lots of french and english royalty etc. Royalty often sent each other portraits. Long story short, lots of evidence to suggest it truly was Scottish section.)

And based upon it, somebody GUESSED that it is Warbeck!

It’s supposedly the only depiction of him we have surviving!

And it is not him! 100%. 

The jewelry, the posture, it fits with Wewyck’s work and Tudor males so well!

Yes, the features are nicer-because kids tend to have softer features and Le Boucq’s drawings also add the softness(such was his style). It fits perfectly with Wewyck’s work. Just look through previous posts. 

Also, how would Warbeck’s portrait survive in Scottish royal collection throughout many years Margaret Tudor was the Queen? She’d be certainly outraged at such display. It’s not make sense for her husband to keep the painting of now dead man of whom he had no use.

Like for Tudors it made sense to portray Richard III with broken sword-because that shows him as warrior who was defeated, thus more glory to Tudors for defeating him.(read my post Mistaken identity, if you don’t get why I assume rest of Richard’s portraits are not him.)  But same doesn’t apply to Scottish royalty and Warbeck.

In Receuil d’Arras ‘Warbeck’s’ drawing is not even that far from rest of Wewyck’s work.

It’s Henry VII, then Elizabeth of York, then two drawings of Elizabeth I (from late 1550s it seems), then James IV, Margaret Tudor, then Bernard Stewart, 4th Lord of Aubigny; then drawing of Egyptian woman who once healed Scottish King, James II of Scotland and then supposed drawing of Warbeck.

Henry VIII was just 3 drawings away from his sister, the entire time! 

Meaning that probably in c.1570, all those paintings were in same chamber or set of chambers when Le Boucq drawn them. They were not separated, even though by that point nobody could remember who the boy in the painting was.

(Probably because those 4 paintings by Wewyck were in same style. So people knew they belonged together. Just no longer who was in one of them.)

That it is boy might also explain why he is much bigger in current drawing than rest of his family. (or at least Le Boucq makes it seems so.)Some painters struggled with proportions of children, adn then sometimes made them ridiculously smaller or much bigger.Even though Margaret would be in her early teens when she got painted, she’d be still couple of years older than her younger brother, thus her features closer to adults. 

(That was main information. If you’re interested into me rambling bit more about the other Scottish paintings by Wewyck you can read further. But to be honest i covered lots of it in part 1. If not I hope you’ve enjoyed this.)

Speaking of Margaret I’d like to clerify something. Records suggest she was painted by Wewyck twice. Once as English Princess, and 2nd time already as Quen of Scotland. Idk which one is in Receuil d’Arras.

1)Drawing of Margaret Tudor, Queen of Scotland, based upon portrait from c.1502-3:

But I belive we have idea how 2nd portrait looked. Family trees of James I show Margaret in en face with gable hood:

It’s also in several engravings. Each of them is of not great quality.

The lenght of frontlets and pitch of gable hood suggest it is early 1500s(max.1505), thus likely based upon Wewyck’s work.

I also wanted to point another thing about these scottish-based portraits. They are unique. While there are other depictions where they hold golden orb/apple? and similiar outfit, together all those details don’t fit any other different versions of their portraits surviving, probably because the copies made during Henry VIII’s reign were made based upon portraits located in England. 

Thus Scotish located paintings never had copies of them made. So when alongside many other Scottish portraits they got destroyed, Receuil D’Arras became sole source where we can see them. (As far as we know.)

2)Drawing of Henry VII holding an apple/orb:

(Yep it is once again the same brooch-or perhaps there were 2 of same design but different sizes. But same style brooch.)

While even on Henry VII’s drawing some details of the sleeves rubbed off, note the shape of the oufit around his neck. It is round, and the curve goes downward.

And Henry VIII’s paintings go also downward.

But majority of Henry VII’s paintings, have it other way around. They are pointed upward.  And it got me thinking-i don’t much about Tudor male fashion in general. So i don’t know their chronological order. However, around 1480 the neckline of english ladies was curve pointing downward(York sisters stained glass), but then through 1490s we saw W-shaped neckline pointing upward, which then slowly returned to almost straight line with slight raise by c.1500 and eventually to completely straight, only to be curved upward much later towards end of Henry VIII’s reign.

I don’t believe they’d send to Scotland painting predating Henry VII’s reign. It’s 1502 painting. No doubt about it.But neckline of men evolved in same way as ladies’ fashion, then big portrion of Henry VII’s paintings would not be from 1500s, but from 1490s, and I don’t mean just late 1490s. Thus potentially Wewyck worked for English royals for much longer than we assumed. 

But I don’t have yet enough to establish firmly chronology of dress and headwear prior to 1500. Sadly my only solid source from that time are tomb brasses and dating of those is very difficult and requires lots of time.

3)Sadly Elizabeth’s sketch is no more there. Sketches are all in pencil and hers sadly got worn out. Only imprint of the original drawing left on the opposite page still survives, but it is really light imprint.@english-history-trip enhanced it a bit(far better than attempt I made and then discarded), but in order to know what that painting looked like, we have to flip it back:

It’s not perfect match with neither of the 5 paintings of her I showed you prior, Currently closest it comes to this:

But why if it is based upon original by Wewyck-from life, why is her neck short?

(In other cases it was in posthumous paintinsg or altered.)

This time there are other possible explanations alterations to the original, le Boucq not gettig proportions right(possibly further shifted by this being based upon imprint) etc. But imo none of those is correct. Imo it’s not alteration. It’s actually there, but isn’t what we think it is(neck crease). Imo it’s edge of necklace.

I had looked at original drawing in Receuil d’Arras, and in Photopea I played with setting to see, if i could find filter or something which would give us better idea of what the drawing looked like. I used both inprint and what is left from original drawing. That is how i discovered that just as Henry she held an orb.

It just stayed on the original page and not on the imprint. 

But to get to that necklace, I need to use much stronge filter. Idk what it is called with english, but it turns the drawing into these dots and as you shift the setting, it goes from very dark lines to very light ones-revealing some which you’d never see with naked eye. But it also has downsides. it will hide some lines you’ve seen before and eventually the filter will start to reveal weird lines which are texture of the paper, not related to drawing itself.  

Main issue is that some parts are already distorted(because they were visible/more dark before), while some are not, and it is hard to catch the right setting for the era you’re interested in.

However you need to rely on your knowledge of tudor outfit, to connect the dots-literally and to know which dots to not remove.

In this setting hands are not visible, but it is focused exactly on the area of clevage. Thus, while rest needs bit of clearing, that area should be fairly accurate. Now I could be wrong, but that looks like necklace to me.

And you can see it on imprint, in HD, if you focus on it. If you search for it. It’s very very light. But it seems to be there.

Tiny bit of pattern, just under the ‘neck crease) which forms shape of triangles I’d say. It’s not likely to be any of the pearl necklace of triangles we seen in late reign of Henry VIII and later. But some late 15th/early 16th century necklaces had similiar form. One is in Receuil d’Arass itself-on Eleanor of Austria as child:

Royalty in those days often had same jewel makers. Just few provided the jewelry of quality royals wanted(that is why often you see same or similiar jewelry across Europe, on members of several different dynasties and it isn’t just them sending each other gifts.) Also fashion and jewelery back then was not solely unique to the country, they influened each other, and some trends took on in several countries or had pararels in them. (Like french hood’s frill and english gable hood’s paste in early 16th century- they moved up and down around same time.)

Thus Elizabeth’s necklace might have looked similiar to Eleanor’s. Idk exact shape, but it seems to me like top same, then much larger triangles. ANd sometimes it seems like two rows of triangles. Idk.

Unfortunately all my attempts looked horrible.  You can try it yourself. I give up.

With hadns also. Can’t make the shape out conclusively. And i can’t make the shape out. But it sort of reminds me of necklace of triangles(which obviously was made much later) or some paintings at turn of 15th and 16th century. Nevertheless this is very underated depiction of her.

(I did look into drawing Henry VII also with these filters-because his is also partially rubbed off. He wears his usual clothes he has in many other portraits. There is nothing new for you to learn there.)

I hope you’ve enjoyed this.

[classicschronicles]

Hi lovelies,

First of all, whoever decided A-levels were sensible. Run. I will find you. Secondly, whoever put the Classics, Politics and History papers in the space of TWO DAYS. Don’t even bother running, it’s on sight.

Anyways, so on Tuesday I have my Greek Theatre exam and I’ve been so wrapped up in History and Politics that I’ve done no Classics revision, so today I’m going to try and summarise all the context to the component. Don’t know if it’ll work but here goes nothing.

Okay so a quick introduction to Greek theatre. It started in Athens in the late 6th century BC and there’s varying arguments over whether or not it developed from the performance of Epic or as a religious ritual to Dionysus. The tragedies written at the time are still hugely popular today because they concern themselves with aspects of human life that don’t change (i.e. happiness and suffering, the relation between the individual and the state, or just general human relationships). It is really important to understand that drama in the Ancient world was not for the purpose of entertainment, but rather it was your civic and religious duty to attend.

The biggest festival in the dramatic scene was the city Dionysia, which would take place in late March/ early April in Athens. The festival was a way of honouring Dionysus and in total eight playwrights would take part (5 tragedians, and 3 comedians), and the whole event was organised by the leading political figures in Athens. In fact, if one wanted to gain public favour for the next election he would fund or pay for either all, or parts of, the Dionysia. Anyone who contributed to the production of the plays was called the Choregos, and there was a liturgy on the super rich which required them to contribute to the festival as part of the functioning of Athens. The Dionysia was attended, it is thought, by the male population of Athens, and in demonstrating its importance, some seats were reserved for slaves and convicts, who could afford to attend thanks to a state fund. It being in spring meant it was the perfect time of year for foreign dignitaries and allies to attend as well. At the Dionysia it is highly unlikely that women attended at all, apart from a high priestess. Before the actual ‘Dionysia’ there would be a Komos in the streets, which was basically like a loosely organised revel in honour of Dionysus.

There were two other notable dramatic festivals that also took place and they were the Lenea and the Rural Dionysia. The Lenea was held in late January and it was competition creation in 440 BC. The rural Dionysia was held mid i winter and it was celebrated by the rural, more far flung, areas of Athens. Its thought by some scholars that the plays performed at the Rural Dionysia were like ‘tour’ versions of the plays that had been successful at the Dionysia.

Okay so when it comes to Greek theatre, there are a few key features that were shared between both comedy and tragedy. These features included costumes, masks, chorus, actors, messenger speeches, and an agon. Okay so starting with costume, they were key for a playwright to give information o the audience, because there was a set archetype of costume used for a god, or to depict a woman, or a soldier etc…. Masks were a hugely hugely important part of plays because of the depth they added to the performance. Tragic masks often had solemn faces and comedic ones were farcical in nature, but in any case they were all used to depict emotion and even stage effects (so for example when Oedipus blinds himself, a mask covered in red paint would be used by the actor). The next feature was the chorus, absolutely not in any sense of the word to be underestimated. The chorus was made up of 15 ordinary citizens (initially 4, then 12, then 15). There is not record of how chorus members were chosen but due to the competitive nature of festivals, those who were chosen were excused from military service during their practice time. There is no surviving information on how the music accompanying the chorus would’ve sounded, but safe to say it would’ve added to the vibes of whatever the chorus were doing. The chorus were often used to provide sublime political and social commentary in their roles (for example the chorus of initiates in the Frogs). The next, and most obvious part, was of course the actual actors. Actors, unlike the chorus, were trained professionals and in tragedy it was the same three actors that played all the leading roles, they would just hide behind the skene (backdrop) and change masks and costumes. The next feature was the messenger speeches. Due to its religious nature, and also just tradition, violence did not happen on stage in theatre. Messengers are the ones who report this violence and the messengers are usually chorus members. The last feature was thing called an agon. An agon was a dialogue at times of high tension between two different actors culminating in a debate (for example Euripides and Aeschylus in the Frogs).

Okay so tragedy! Tragedies were performed in open air theatres and as a consequence of being part of the serious matter of Greek religion, they were very serious, dealing with moral wrongs and rights. Violence was not permitted on stage and its important to note that tragedians weren’t technically allowed to make political commentary, that had to wait to the comedians. In very early tragedy, there would only be one actor who would perform in a costume and mask. The actor would often speak to the chorus (up to 15 people) who sang and danced but did not speak. After a time, the number of actors grew to three (but it was capped here so that were wa a level of equality in competition). Tragedy was meant to be cathartic for the male audience of Athens, approaching topics that they wouldn’t discuss in every day life (for example the treatment of women as discussed in Medea). Plays like Oedipus may have been cathartic through their demonstration of tragic heroism. There are three main tragedians- Aeschylus, Sophocles, and Euripides. Aeschylus often had a theme between plays- creating trilogies like the Oresteia. Sophocles was known for adding the third actor, and also for his complicated plots, and changes of scenery in plays. The last of the famed tragedians was Euripides. He was particularly known for having opening speeches to set the theme, using simpler language so that his plays were more accessible, and for posing unsettling themes to make the audience question things.

Comedy time! The word comedy comes from ‘komodia’ meaning the ‘song of Komos’. Aristophanes is the only comic writer who’s plays have survived (11 of the 40 he wrote). He was a very satirical writer and make a lot a lot of political comments, particularly about the Peloponnesian war. In comedy, 4 actors were allowed, and 24 chorus members who were divided into 2 semi-choruses. The chorus often broke the fourth wall and would talk directly to the audience themselves. For example, in Aristophanes Frogs they offer to buy the priest wine after the show. Actors in comedy would wear ridiculous costumes, like comically short tunics and tights stuffed with padding, fake phallus’ and grotesque masks. There was also this thing called a parabasis which was like a little interval in which the chorus would deliberately break the fourth wall and talk about literally anything, including any scandals of the day, politics, or even why that play deserved to win.

Okay, last thing! The layout of a greek theatre. Greek theatre was always performed outdoors. Early theatres were probably just open areas in city centres or next to the hillside where the audience would just stand and watch. From the last 6th to 4th century BC there was a gradual development towards more elaborate theatre structure, consisting of an orchestra, skene, parados, and Theatron. The orchestra was normally a level circle space where the chorus would sing, dance, and interact with the actors. The Theatron (which translate to ‘viewing place’) was where the audience sat. It was usually just larger than a semicircle (which was great for acoustics). It was usually part of larger hillside and made of stone seats. The skene was a building directly behind he stage which worked as a backdrop as it was usually decorated as a palace or temple etc…. The skene also had a set of doors which actors could enter in and out of. The parados were a set of a passageways that the chorus and messengers could make entrances through. There were also two main mechanisms used for dramatic effect. There were the ekkyklema and a crane. The ekkyklema was a like a platform on wheels that was brought on stage to depict the violence that had happened off stage. For example, in Euripides’ Bacchae the body of Pentheus is wheeled on stage using an ekkyklema. The crane was, literally, as it sounds. A crane used to show characters from above, usually reserved only for gods.

Anyways, there you have it. A whistle stop introduction into greek theatre. Guys I promise not long left of me bullying you with revision. I hope you all have a lovely weekend <3

~Z

[indefinite-pitch]

Adjust (BE) - Deva

[semi-deuses]

Temperatura dos oceanos - Recorde assustador | Waves

Segundo a notícia, continuamos no meio de ciclos climáticos e a sua intensificação é provocada pela emissão grave de CO2 no planeta.

Quando leio as notícias originadas de estudos financiados pelos órgãos internacionais ligados à ONU, quem escreve, nunca deixa de mencionar essa ligação CO2 - aquecimento global. Acredito sim que existe uma ligação nisso, mas aqui, nenhum de nós temos como comprovar, mesmo passando por uma diminuição das atividades comerciais por todo o planeta, provocadas pelo medo de contaminação pelo COVID2. Onde moro tenho percebido que a temperatura está diminuindo, pelo menos na região onde moro, que é a cidade de São Paulo.

Se você for uma pessoa que tem uma base de entendimento, começa a desconfiar de algumas coisas nessas notícias. Por exemplo: se você quer dar credibilidade em sua tese, precisa ter como base, dados cronológicos na mesma dimensão da grandeza do objeto do estudo, que no caso, é a Terra. E aqui é desconsiderado os fatos e os dados históricos desses eventos climáticos do planeta com uma idade que ultrapassa bilhões de anos. Você já notou isso?

Se você nunca soube, no Brasil, no século XVIII, ocorreu um Tsunami no Atlântico que devastou parte do nosso litoral, e até hoje, ainda não tivemos nada parecido. Nota que naquele tempo, as únicas maneiras de se produzir CO2 em grande escala era uma explosão de um vulcão ou de uma queimada florestal.

Há também muitos estudos que mencionam mudanças periódicas nas temperaturas médias do planeta, aumentando ou diminuindo a temperatura geral do planeta. Por qual razão os cientistas não escrevem mais essas referências? Para comprovar essa forma de pensar, veja esse vídeo de uma palestra do Professor Luiz Carlos Molion, no evento "A VERDADE SOBRE A AMAZÔNIA", ocorrida em 2019 no VATICANO, que categoricamente apresenta vários dados científicos, questionando o aquecimento global .

Não só ele, mas outros grandes estudiosos, foram perseguidos profissionalmente. É uma forma de reprimir aqueles que não conseguem deixar suas convicções de lado, por serem formadas por ardo trabalho dos seus estudos acadêmicos. Você não esqueceu da morte do professor Anthony Wong, infectologista renomado da USP, por causa de uma infecção digestiva, justamente ele, que tinha opinião contrária às restrições de contaminação. Na minha opinião, não se descarta a possibilidade de envenenamento, porém, claro, jamais saberemos os motivos reais dessas mortes, pois não só ele, outros especialistas que não concordavam com os protocolos impostos pela OMS, perderam a vida na carne.

Quase sempre, a maioria nunca está com a verdade, historicamente falando. Desde tempos remotos, sabotagens foram criadas para dominar grupos da nossa sociedade. E sempre que vozes combatiam fatos assim, acabavam caladas.

Um desses exemplos que mais corrompeu a sociedade vem da Igreja Católica de Roma. Quando inventada, apropriou-se da doutrina de Jesus, depois a moldou de acordo com os seus interesses, destruindo escrituras, tornando-as livros apócrifos e o pior é mais grave, transformou os dons mediúnicos, o intercâmbio entre os planos, como sendo coisas do "diabo", dizendo que as pessoas que portavam esses dons, eram bruxas, condenando-as à fogueira. Foram 1000 anos de trevas, até que as falanges angelicais dessem início ao trabalho que tiraria Roma do poder central do Ocidente.

Voltando ao assunto sobre as mudanças climáticas, secretamente, é sabido que o agente causador de transformação da forma de vida do nosso planeta é o Sol, que domina o controle sobre os planetas do seu Sistema. Sua proporção em relação à Terra é gigantesca. Leia o que já escrevi sobre o trânsito do Sol. Se você gosta de astrologia e astronomia, sabe que entramos em nova era e que o Sistema Solar transita em região sideral onde as energias vibram em níveis mais elevados. A Terra, por ser um planeta muito denso, para entrar em harmonia com essa parte do cosmos, precisa se equilibrar e para isso, precisa mudar o seu padrão vibracional. Sempre foi assim.

É difícil compreender esse raciocínio. O leigo do assunto, vive sobre a influência do planeta, onde o físico tem dominado o espiritual. E a falta de entendimento sobre os ciclos da vida, acaba sendo um obstáculo para fazer a maioria não entender como funciona o Processo Evolutivo, a Lei de Causa e Efeito é o Livre Arbítrio. As necessidades de cada espírito, são definidas sempre de acordo com as Leis de Deus, nada acontece fora Dela.

Deus abençoe a Todos e espero ter despertado mais uma vez a curiosidade humana.

[kimberleyreid]

Should Fixing Dating Take 9 Steps

It is usually easy to start dating with Filipina. So what I did was just start the music I had recorded as a separate track beneath the dialogue, and used the “time shift” tool to move it so that Norma’s breath-suck came right after the door slam at the end of the dialogue. At a speed dating event, participants are paired up in a series of quick five- to seven-minute "dates." When the time is up, a bell or timer is rung, and participants move on to their next one-on-one conversation. נערות ליווי בקריות That’s when she does the quick suck-in of her breath you hear right before I start talking in the bumper. Published start times can be found in the event description. This suggests that people first encountering IndieWeb either at an event or in chat will be exposed to conversations and presentations of recent technical developments. Its claim to be an alternative to the corporate Web suggests an opportunity to contest some features of the Web with which I disagreed during my freelance career. I used Soundflower and Audacity to record audio from the episode while it was playing on my computer.

I also mentioned that it’s possible to do noise removal in Audacity, which is especially useful if you have a track that has a good deal of ambient noise (like a refrigerator, wind, computer fan), or if you have had to amplify a track to get it to be loud enough, but have also amplified the ambient noise too (Rochelle says doubling tracks can help avoid this problem). There are also issues because the rate of cosmic ray bombardment of the planet over time has not always been stable: but this problem is largely redressed by a calibration factor. BUT, I wanted there to be music throughout the bumper, so I recorded a section of the episode that had mostly just music. You can mask this if you want, and even perhaps remove the need for noise removal altogether if you add some nice background noise (like maybe a recording of being outside with birds, or a street scene), or use music behind dialogue. I wanted some background music as well as something that would be good to end the bumper with, so I chose a couple of sections from what I had recorded and cut and pasted the two different parts together.

The nature of the music worked with just silence before it. I added some silence (by cutting and pasting from a silent part of one of the recordings) right after the breath-suck-in, and then started the first piece of music over which I would speak. Then, perhaps sometime shortly before the "Arab Spring" in 2010, the powerful people in governments started noticing that the Internet had given not only the minions but also other ordinary people more power to communicate and to organize in ways governments did't necessarily like. It was a socioeconomic master/slave relationship, and the masters had no idea that the slaves possessed the insight nor the ability to use the tools they had been given to become their own masters. While the moment in time at which a particular nucleus decays is unpredictable, a collection of atoms of a radioactive nuclide decays exponentially at a rate described by a parameter known as the half-life, usually given in units of years when discussing dating techniques. Using the SHRIMP, selected areas of growth on single grains of zircon, baddeleyite, sphene, rutile and monazite can be accurately dated (to less than 100 000 years in some cases).

6,090 years, and 5900 ± 250 years. For over 10 years, thousands of happy men and women have met their soul mates on AfroIntroductions and have shared their stories with us. Trans women are just women, and trans men are just men. Moreover, the chapters dealing with the earliest periods are the closest in language and focus to classical works of the Warring States period. Technology was adding to the tax base of cities and states. In: Behaviour & Information Technology 25.2, pp. The US government began using secret courts to issue secret orders to large corporations to tap into the information flowing into corporate servers, especially cell phone and email traffic. Lacking any type of technical education whatsoever, nor the slightest interest for that matter, CEO's and government leaders had no understanding at all of the nearly limitless uses that would one day be realized. The chinese government coerced Google into moving all the information it had collected from chinese citizens onto servers on chinese soil, where they have the authority to sift through it just as the US government had been doing. Since you need a few seconds of just the noise you want to remove in order for this to work, it’s really helpful to make sure you wait a few seconds when doing a recording before you start speaking, playing music, what have you.

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Fort Lauderdale Boat Show encerra 65ª edição e anuncia datas para 2025

Maior evento náutico flutuante do mundo celebra marco histórico com experiências para todos O Fort Lauderdale International Boat Show (FLIBS) completou 65 anos com público recorde, atraindo mais de 100 mil visitantes de todo o mundo para o maior evento náutico flutuante do planeta. Organizado pela Informa Markets e de propriedade da Marine Industries Association of South Florida (MIASF), o FLIBS…