#OfwHomes

[colesbroughmort]

sSomething found apon Redwater search,

Dears,,, "sSomething... Redwater search" brings the Driver to focus, seven songs to be released two months today as, "the Driver & Somesun", the first more narrative focused project of mine under the name, K. Olivier. rumors of Sound & Performance persist. I will speak more.

; writes...

"

a five hour stretch of Drive between two rivers holds a vague echo of nothing more than a few ms. Names spoken within I can see (& to a degree, detail) renditions of which will be later revealed to both you dear reader, and myself. now I share of the Driver, found in depths of Redwater somewhere off the coast in such aforementioned region known as the Wraparound.

spt1st2023- in Two months a year ago such monument named Driver was dredged up from depths of Redwater, and in the months followed made himself love and queer family of soon to be Faye or Alloway or Allohe... I saw them! through and under moonlight in trans bodies there was lust and power only to be found in the "blistering heat" of summer. this City resides around the edge of cruel Wraparound, and from a certain angle I can see the space between, like if one was to peer apart the two surfaces of a page.

Aside, the first place found such anomaly was in my dear Bardon, where I once was a visitor I now live; I can see the Wraparound on all sides of me from the morning to evening, she whispers to me of so much more than I ever thought, a Driver a Coyo't, weak Thrower and finally reasons and arcs for such dear Augustine (ofWHOM I HAVE NOT FORGOTTEN!) but that is besides the point. I will write soon, and once I do something will change, I know it.

L or now,

K "

[byronsmuse]

The mental attitude of the people of the metropolis to one another maybe designated formally as one of reserve. If the unceasing external contact of numbersof persons in the city should be met by thesame number of inner reactions as in the small town, in which one knows almost every person he meets and to each ofwhom he has a positive relationship, one would be completely atomized internally and would fall into an unthinkable mental condition. Partly this psychological circumstance and partly the privilege of suspicion which we have in the face of the elements of metropolitan life (which are constantly touching one another in fleeting contact) necessitates in us that reserve, in consequence of which we do not know by sight neighbours of years standing and which permits us to appear to small-town folks often as cold and uncongenial. Indeed, if I am not mistaken, the inner side of this external reserve is not only indifference butmore frequently than we believe, it is a slight aversion, a mutual strangeness and repulsion which, in a close contact which has arisen any way whatever, can breal out into hatred and conflict.

Simmel, The Metropolis

[mitzsantillan-blog]

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[estelofthedunedain]

just some thoughts

“I thought you were Lúthien” was not Aragorn attempting a cheesy pick up line. He was genuinely confused

Which also means that when he called for her, he didn’t think the elf-maiden (aka Arwen) was exactly real so when she responded the way she did was Big Embarassment Time (Tm)

Tried to recover his pride by bragging about stating his lineage but that kinda flopped too

Originally wanted to post this as headcanon but I went to re-check the source and it’s literally canon actually (quote below)

The next day at the hour of sunset Aragorn walked alone in we woods, and his heart was high within him; and he sang, for he was full of hope and the world was fair. And suddenly even as he sang he saw a maiden walking on a greensward among the white stems of the birches; and he halted amazed, thinking that he had strayed into a dream, or else that he had received the gift of the Elf-minstrels, who can make the things of which they sing appear before the eyesof those that listen.    

'For Aragorn had been singing a part of the Lay of Lúthien which tells of the meeting of Lúthien and Beren in the forest of Neldoreth. And behold! there Lúthien walked before his eyes in Rivendell, clad in a mantle of silver and blue, fair as the twilight in Elven-home; her dark hair strayed in a sudden wind, and her brows were bound with gems like stars.   

'For a moment Aragorn gazed in silence, but fearing that she would pass away and never be seen again, he called to her crying, ���Tinúviel, Tinúviel!” even as Beren had done in the Elder Days long ago.   

'Then the maiden turned to him and smiled, and she said: "Who are you? And why do you call the by that name?"   

'And he answered: "Because I believed you to be indeed Lúthien Tinúviel, ofwhom I was singing. But if you are not she, then you walk in her likeness."   

' "So many have said," she answered gravely. "Yet her name is not mine. Though maybe my doom will be not unlike hers. But who are you?"    

' "Estel I was called," he said; "but I am Aragorn, Arathorn's son, Isildur's Heir, Lord of the Dúnedain"; yet even in the saying he felt that this high lineage, in which his heart had rejoiced, was now of little worth, and as nothing compared to her dignity and loveliness.

[fymagnificentwomcn]

Hello, we all liked Handan here. I suppose Halime turned out to be simply the more interesting character for more people & it’s not surprising because she seems more to be the type to gather bigger fanbases, while I suppose in real life most people would prefer to be friends with Handan. I have to say I actually liked how they bounced each off, and how Handan was the sinnammon roll to Halime’s cinnamon roll as our dearly missed Ksenia showed in gifset here.

Handan truly just wanted her son to be safe and sound first and foremost. Of course, she enjoyed being Valide and wanted to enjoy privileges connected with her new station, but you could see Ahmed was most important for her, she truly just wanted to be loved and have her family safe and sound.

However, you could also see that she pretty much had anxiety problems & was usually reacting to stuff very emotionally, more so than even other “emotional” women on show.

I think her gentler constitution made living in this system a constant stress and frustration for her, she couldn’t adapt.

And it’s actually interesting to see this sort of woman on show – I cannot believe each and everyone of these women functioned pretty normally… like Mahidevran could be emotional for example but she still managed pretty well.

Handan didn’t get much in life – she wasn’t important to Mehmed, she was sidelined by both Safiye and Halime, and while she was lucky to have a son, it was clearly also very stressful for her as she stated multiple times how hard it was to be a mother in that palace; the whole situation truly gave her more anxiety than thinking about any ambitions. Her son wasn’t the eldest and Mahmud was very popular, and after Mahmud’s death she was scared Mehmed III might kill Ahmed.

Dervis’ love was truly the only thing she had left after Ahmed distanced himself from her.

And she was not only grieving Derviş, but scared that Ahmed might reject her even more when he learns about their forbidden love.

Even look at Ahmed’s reaction to what Dilruba told him – he immediately went “so my mum had to help me with killing my father!!!!!” and we know she didn’t & didn’t even know Derviş’ secret until after Ahmed’s accession to throne.

Ahmed was truly the only thing that kept Handan standing in that palace for all these years.

Kösem, who was back then a raising star with padisah’s love and high position for favourite/gözde, just completely didn’t understand her mother-in-law (I mentioned it a bit in post here).

It was only later that she understood Handan, even despite the fact that she was stronger person and far more powerful. It’s that while they were different people in various aspects, Kösem and Handan also had some similarities, which shows how multi-faceted Nurgül!Kösem was.

I’m actually happy they kinda subverted our expectations in MYK S2 & didn’t pull standard MY/K melodrama with Kösem&Kemankeş despite all the stressing about how Haci was worried she might end up like Handan & Kösem going on how she wouldn’t survivie Kemankeş’ death multiple times & being all stressed out and worried when something could be happening to him (they couldn’t have her commit suicide of course, but they could go with some spiritual death or final breaking point, for which nota bene Ibrahim’s death served better, it would have been even too early) & instead she saved her man from her sons’ wrath two times because yes she’s more powerful than Handan & is lucky to have more options than to watch and cry, feeling powerless ☹ It was truly something fresh and while it was totally historically false because truly Kemankeş got executed then and it’s hard to imagine any other scenario, especially since in the show he later walked everywhere with Kösem and lived in palace (so let’s be real it wasn’t a secret he survived later on show-wise) but I don’t mind it here. Much better than another teary melodrama with woman being powerless and just having to watch her loved one die.

Putting history aside, it was also meaningful ending for them from narrative perspective – they used the trope of forbidden lovers dying together and thus being finally able to be together in death – making Kösem lose will to live after seeing dead Kemankes & stop fighting for her life even once they stopped holding her thinking she was dead was a new twist on the formula (and to answer one of my recent asks - I love K&K, they are my OTP for MYK and IMO the most epic and well-written love story of the show 😊, but I will elaborate later, since you all know I usually try to wrtie exhaustive answers and as such can be slow in replying, as the asker of this question on Handan may surely ascertain lmao)

And maybe some bit of trivia about historical Handan, who actually wasn’t such an innocent angel (and frankly, she wasn’t one in the show as well, even though she wasn’t as cruel as some people around her, like Safiye or Halime, and it was mentioned she and Safiye had some understanding when the Mahmud matter was happening). There are some indications that Handan helped Safiye against Halime to remove Prince Mahmud. Quotes under the cut are taken from Günhan Borekçi’s Factions and Favourites at the Court of Sultan Ahmed I and his Immediate Predecessors.

Against this backdrop, Halime Sultan tried to persuade her husband to single out their eldest son Mahmud as his heir and send him to a province, just as Mahmud himself had wished. Clearly, the favorite concubine and her son had their supporters among the viziers and soldiers. Meanwhile, Handan Sultan, as the mother of the only other viable candidate for the throne, must have been alarmed by Halime’s actions and would have sided with Queen Mother Safiye Sultan in order to protect her own son, Prince Ahmed, if not to promote him for the throne instead of his elder brother. Handan may well have been the source of the rumor about Prince Mahmud’s infertility, since she had every reason to undermine him before the sultan decided on a successor. Mehmed III’s response to these machinations remains unclear.

And:

It was indeed a clash between Safiye Sultan and Halime Sultan that led to execution of Prince Mahmud, but this conflict also drew in Halime’s rival Handan Sultan, the mother of Prince Ahmed. Furthermore, it occurred in the absence of Gazanfer Agha, the powerful chief eunuch of the palace. The conflict among the three royal women was not unrelated to the soldiery revolts described earlier.

And:

Indeed, the English ambassador Lello and the Venetian bailo Contarini both indicate that Safiye Sultan was the mastermind behind the execution of Prince Mahmud, a solution which she apparently put forward in order not only to relieve the sultan of deposition anxiety but also to eliminate Halime Sultan, ofwhom she was reportedly “very jealous” (read threatened). According to Contarini, the queen mother had the open support of Handan Sultan in this scheme.

Gazanfer Agha’s execution not only altered the balance of power at the rebellion-weary imperial center but also changed the factional equation within the royal family. In the absence of Gazanfer Agha’s balancing authority, the rivalry between the party of Safiye Sultan and Handan Sultan, and that of Halime Sultan, spun out of control, resulting in the execution of the eldest prince of the dynastic family in mid-June 1603.

- Joanna

[real-estate-bulacan]

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[citiglobaljhe-blog]

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[icarusplease]

i just want it to be known to all my followers which ofwhom 99% know nothing about cr that Artagan is hands down my favorite npc like holy shit

[thingsonmyclipboard]

I.  Jomon Period (c. 11,000 – 300 BCE) / from Neolithic to early small communities / best known forexaggerated, asymmetrical pots with complicated surfaces covered with flame-like coils.II. Yayoi Period (c. 300 BCE – 300 CE) / was both a bronze age and an iron age, signifying that the useof both metals was brought to Japan from the outside / best known for its ritual bronze bells in a verydifferent style from the pots of the earlier period.III. Kofun Period (c. 300 – 600) / best known for the so-called “key-hole” tombs and the various Haniwafigures that accompany them.IV. Asuka Period (552 – 646) / under the influence of the arrival of Buddhism from Korea, Shinto sitesbegan building shrines, the most famous of which is at Ise.  Early Buddhist sculpture under the influenceof the Tori school displays Korean stylistic traits (Shaka Triad, Kannon).V. Hakuho Period (645 – 720) / under the influence of Tang China, monks traveled there and broughtback Chinese architectural style to apply to new Buddhist monasteries in Japan (Horyu-ji), though afterbeing destroyed by fire, the overall plan of the new site became uniquely Japanese (lateral plan,asymmetry). International Tang style sculpture influenced Japanese Buddhist sculpture more than Koreanstyles did.VI. Nara Period (710-794) / Considerable influence from the powerful Tang Dynasty in China continued.This was Japan’s most “Chinese” period.  The influence of the “esoteric” Buddhist sects gained inimportance bringing more interest in Birushana/Roshana (Vairocana) Buddha and the other“Transcendent Buddhas”.VII. Heian Period (794 – 1185) / The Emperor moved the capital from Nara to Heiankyo (modern Kyoto)to get away from influential monks and Confucian authorities there. Under the control of the powerful Fujuwara clan, the Imperial style was a backlash against Chinese influence.  This was the most“Japanese” of any period.  This change was also influenced by the late-Tang persecutions ofBuddhism, which further alienated the two countries. As Shinto had a greater influence on Buddhism, theesoteric sects of Shingon the Tendai rose in popularity, as did Pure Land Buddhism (and its “raigo”Amida). Japanese artists sought a purely “Japanese style”, resulting in the Yamato-e painting style—evident in several emaki-mono that employed both the onno-e (feminine style) and the otoko-e(masculine style) painting methods.VIII. Kamakura Period (1185 – 1333) /  a feudal era, the Early Medieval Period was controlled by the Minamoto clan, the head of which was the first person granted the title Shogun (General), Minamoto noYoritomo. The capital was moved to Kamakura. Open rule by the military, ostensibly in the name of theEmperor, with continuous infighting among the various Feudal Lords (Daimyo) and their samurai—all ofwhom rejected the “refined” aesthetics of the Heian Period in favor of scenes of heroic warriors, feudingclans, and violence (bushido: the way of the warrior). Yamato-e style continued, but in the service of thisnewly popular subject matter. Angry Dharma Protectors appear (Kongo Rikishi), and Kai School realismdominated sculpture. Shoguns and Daimyo wanted portraits of themselves. Pure Land Buddhismflourished, and Zen was introduced under the influence of Song Dynasty China.IX. Muromachi Period (1392 – 1573) /  still considered Medieval Japan (still decentralized feudalregimes of the various daimyo).  The Ashikaga clan replaced the Minamoto and moved the capital backto the Muromachi area of Kyoto, trying to rival the aristocratic elite at the Imperial Court.  Favoring kara-eto yamato-e, Shoguns promoted all aspects of Chinese culture. The close ties between Zen and kara-estyle were clear, and the three master Zen Priest painters borrowed and adapted Song motifs usingsuiboku-ga and haboku techniques. Japanese gardens, under the influence of Zen, become animportant part of the meditative experience. X.  Momoyama Period (1576 – 1615) /  the height of Medieval Japan, named for the “peach hill” orchardnear Kyoto. Dominated by two men: Nobunaga (its founder) and Hideyoshi, the Shogun who finallyunified all of Japan.  An absolute military dictatorship, the period is a contrast of the “public” world(majestic and showy—castles) and the “private” world (Zen inspired tea aesthetic). Kano school paintingwas dominated by yamato-e style with large bold forms on gold backgrounds. Hasegawa balanced thepublic and private with his large byobu using suiboku-ga in the aesthetic of tea master Sen no Rikyu.Original Japanese raku ware reflected individual tea aesthetics.XI. Edo Period (1615 – 1868) /  Tokugawa clan took power from Hideyoshi and moved the capital toEdo (modern Tokyo). He required Daimyo’s families to live in Edo (to assure the loyalty of the war lordswho maintained their castles all over Japan.)  Disparities between the “public” and “private” worldcontinued for the aristocracy. The code of the warrior (bushido) became institutionalized in the formalmarshal arts schools, which taught stylizations of warrior behavior—a new emphasis on swordsmanshipaccompanied this (as opposed to equestrian archery that had actually been the method of traditionalsamurai.) Rinpa style rejuvenated traditional Japanese arts and color woodblock prints (nishiki-e)offered the middle-class both ukiyo-e and landscape subjects.XII. Meiji Restoration (1868 – 1912) / after a weakened shogunate, power was briefly vested with theEmperor / Japan was forced to “westernize” to avoid colonialism. Yoga (western style) painting appeared,and Nihonga attempted to preserve aspects of indigenous artistic traditions. Organizations were formedto promote “traditional” arts.  Different art schools took up various points of view on the subject. XIII. Modern Japan (1912 – present) Nihonga style was important early, with clear western influence.After WWII, Japanese artists quickly developed an avant-garde and have been on the cutting edge ofcontemporary art and design ever since.

[guptachandanassociates]

Unforeseen discrimination faced by the Employees of Nationalised Banks/Public Sector Undertaking etc - CBDT time to Act

Unforeseen discrimination faced by the Employees of Nationalised Banks/Public Sector Undertaking etc – CBDT time to Act

The present articles focuses on an unforeseen discrimination faced by various employees of nationalised banks/Public SectorUndertaking etcthe legitimate interest ofwhom are being adversely affected because of the inaction on the part of the Central Board of Direct Taxes (CBDT) in not issuing the requisite notificationpertaining to leave encashment and hence the issue warrants urgent attention.The…

[mitzsantillan-blog]

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[real-estate-bulacan]

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[real-estate-bulacan]

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[citiglobaljhe-blog]

MAY BAHAY KA NA, MAY NEGOSYO KA PA!!!

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