#South African blend

[morethansalad]

Peri Peri Seasoning

[note-a-bear]

So wild. This white southern chef, Vivian Howard, had this show on PBS for a long while. And her whole thing was history of southern foodstuffs and foodways.

I was always struck by how minimized and sometimes outright absent Black Folks were from her chronicles.

She has a newer show, apparently, and every episode I catch she's featuring a Black chef, cook, or producer and highlighting Black culinary history. Which like, yknow what? Pretty impressive for a white southern chef.

Not many white chefs make a point of doing that, so to see this, even if it's a belated apology for the earlier erasure, is a great step.

[wine-porn]

Rubicon: Southern Exposure

What a difference a __________ makes! Same producer, same year, same bottle, different cork, same-ish varieties, same ABV, the RED a miserable swill of brown, maderized road-tar, the RUBICON stunning in ways California doesn’t quite do and Australia doesn’t quite do and Chile doesn’t quite do–though there are nods to all. Blind, I’d probably go with Australia, as there’s no doubting that…

[ftafp]

Since it's that time of the year again (the time where I feel like ranting about food and shooting pointed glares at smug europeans), I think it's time I correct a bunch of popular misconceptions about american and american immigrant cuisines

Let's take them one at a time

Yes, America has a cuisine. Dozens actually, before you even factor in immigrant cuisines that have maintained a recognized distinction. In no particular order: Pennsylvania is famous for its wide variety of baked good (notably chocolate chip cookies), every state south of the mason dixon has its own regional style and definition of barbecue, Louisiana is home to both cajun and creole cuisines (which are a blend of spanish, french, indigenous, african and english foodstuffs), texas has tex-mex (which is less a fusion and more a relic of when texas was mexican territory), and california, which is famous for its combination of east asian elements with existing american traditions.

Aunt Jemima and Mrs Butterworth are NOT maple syrup. This is a mistake I also see plenty of americans make. Those syrups, which are cheap and come in a plastic bottle are mostly just corn syrup and brown food coloring. Actual maple syrup, which mostly comes from canada, new england, and upstate new york, is significantly thinner (about the viscosity of half-and-half) and has a complex taste similar to light brown sugar and fenugreek.

Biscuits and Gravy isn't what it sounds like to europeans. It's not even remotely close. American "biscuits" are a type of buttery, flaky, unsweetened roll similar to buttered scones, and are traditionally made with buttermilk. The name is an example of divergent evolution: both european and american biscuits are derived from ship's biscuits, a dehydrated cracker with an absurdly long shelf life that needed to be dunked in a broth or beverage before eating. European biscuits were sweetened to make them taste better dunked in black tea. while american biscuits were made buttery to make them taste better dunked in stew or gravy.

American Cheesemaking isn't just Cheez-Whiz. America actually has a wide variety of local cheeses, with the most notable being Colby (similar to mild cheddar), Monterey Jack (a hard, salty cheese used in quesadillas), Pepperjack (a softer cheese made from monterey jack mixed with peppers and dried herbs), Meunster (a funky semi-soft cheese that melts well), and particularly cream cheese (a spreadable fresh cheese similar to mascarpone that is traditionally smeared on bagels, or used to make cheesecake)

American Cheese IS real cheese. It's not made of plastic, it's a mix of cheddar and colby melted into a cheese sauce with fresh cream or milk and then cooled, which allows it to melt absurdly well and gives it a "floppy" texture. Typically sodium citrate (i.e. citrus juice + baking soda) is added to prevent it from getting greasy when melted. A similar step is used in some american versions of mozzerella and emmental that are intended for sauces.

Cream Cheese is NOT Kosher. Well, sort of. Not exactly. While cream cheese is a staple of american jewish cuisine, and does meet all the qualifications to be kosher, actual kosher delis are forbidden from using either cream cheese OR new york water for their bagels. For cream cheese reason is that kashrut is very stringent about cross-contamination between meat and dairy (this was historically to prevent shepherds from serving a calf or goat in its mother's milk), and these delis are famous for their corned beef and brisket. As for new york water, it has microscopic shrimp in it. As a result, these delis typically serve vegan cream cheese and make their bagels with filtered water

Turkey doesn't make you tired. It's not noticably higher in tryptophan than anything else at the table, and there's no evidence tryptophan causes tiredness. The reason you feel tired after thanksgiving is because you were either cooking or traveling all day, and then ate a giant feast while arguing with your racist cousins. That would wear anyone out.

American Immigrant food isn't "fake". Seriously, how fucking racist do you have to be to think this? No, it's not the same as the stuff you get in the original country, because it's an entirely separate cuisine in its own right, born from a hybridization of techniques, ingredients, and flavor palates. Most notably, these traditions typically use a lot more beef than the cuisine they're derived from, and in the case of Chinese food, are typically toned down in terms of spiciness to emphasize the sweet and salty flavors that are more popular among americans.

American wasabi is another story. Wasabi root is very expensive to import here in the us, so to meet demand, importers market a mix of horseradish and green die as a substitute.

MSG isn't "muh evil chemicals". Or at least, it isn't any more so than anything existing. Literally everything is chemicals. Msg actually occurs naturally, forming on the surface of seaweeds that are high in it, most notably Kombu, a type of kelp traditionally used in japanese cuisine to make dashi, sushi, and rice seasonings. The reason you get a headache after eating chinese food is that you ordered the saltiest thin on the menu and then poured soy sauce all over it.

[antisisyphus]

as a non american i have to ask what american cultural food is there.. i cant think of anything

there is creole cuisine of the usamerican south that is a blend of indigenous, west african, french, and spanish food (side note creole cuisine is not a monolith, there is creole food basically everywhere that was colonized & had a large population of enslaved people)

there is also cajun, which is specifically from the southern state louisiana, it has a lot of similarities to creole cuisine as it is influenced by the acadian french, west african people, and the spanish (ppl often use creole and cajun terms interchangeably but they are distinct)

the food of hawai'i which started as indigenous food of the islands and the goods that was traded within the polynisian triangle, but because of colonization has influences from the US military (spam being a notable case of this), portugal, japan, and china

there is south western cuisine (and the many subtypes) that blends indigenous (pueblo, O'odham, and more) colonial spanish, and mormon foods! this food was shaped by the jobs the people of this area held - lots of influence from cowboys/vaqueros and ranch workers. each southern state has a specific twist!

soul food is based on what enslaved people cooked for themselves, actually a lot of cultural knowledge was passed down & preserved in soul food! lots of southern dishes are based on, inspired by, or straight up stolen from soul cuisine. during the 60s soul food restaurants were important places for organizing! there are also several different styles of bbq

midwestern cuisine is based on various european foods (mainly eastern europen but not solely) and also the agriculture of the area (lots of wheat & pork).

since ~1850 there has been chinese american cuisine! fortune cookies, crab rangoon, general tsos chicken and beef & broccoli are all chinese american.

italian american food uses more cheese & milk than italian food. there are also differences in how we serve pizza

the hot dog is a classic american food! in germany frankfurters weren't served on buns. again most major cities of the us have their own style of hot dog.

other american foods are cheese stake, clam chowder, many fruit pies, milkshakes and rootbeer are all usamerican

potatoes, corn, squash, tomatoes, maple syrup, cashew, pecan, peanut, sweet potato, avacado, chocolate, allspice, chili peppers, lima beans, and vanilla are all foods that are from the americas and are NOT native to europe.

no vodka, no goulash, no christmas turkey roast, no cassoulet, no gazpacho, no cashew korma, no shakshouka, no bruschetta, no gnocchi, no aloo gobi, no colcannon, no latkes, no polenta...

[simbistardis]

Stem(me) Lesbian Theory Masterpost

A stemme or stem lesbian is short for stud-femme lesbian. This is a Black lesbian term to describe lesbians whose mannerisms and gender presentation fall between stud and femme. This is a post of the key sources I've found:

Articles and Studies

John Jay College of Criminal Justice LGBTQ+ Terminology, Eli R. Green, 2003-2004)

'Stem – A person whose gender expression falls somewhere between a stud and a femme. (See also ‘Femme’ and ‘Stud’.)'

Lipstick or Timberlands? Meanings of Gender Presentation in Black Lesbian Communities, Three physical presentations of gender: Femme, gender-blender, and transgressive, Moore, Mignon R. (2006)

'Rather than a de-emphasis on femininity or masculinity, genderblenders combine specific aspects of both to create a unique look.'

Selection from "Black lesbian gender and sexual culture: celebration and resistance," by Bianca D.M. Wilson, published in Culture, Health & Sexuality, Vol. 11, No 3, April 2009 - Taken from belowdesire reblogged by princessrococco on Pillowfort

'Despite a consistent description of femme and stud at the extremes of lesbian gender expression, participants also discussed several labels that fell between the ultra femme-hard stud ends of the continuum, such as ‘soft stud’ and ‘aggressive femme’. Labels like these represented lesbians that blended both masculine and feminine ways in their public expression and/or sexual behaviours, but with a purposeful leaning toward more masculine or feminine identity.'

Lesbian Identity: Stemme, Nell S., 6th Nov 2009

'A Stemme is the in-between identity of a Stud and Femme. She is apart of both groups and her identity is subject to change at anytime. A Stemme identity is often referred to as the transitional stage; however, some lesbian women remain a Stemme because they enjoy representing male and female dominance."'

STORY OF INTEREST: Lesbian Speaks Out, Dominica News Online, April 12th 2010

'"one who could switch up one day, she could be a femme and other occasions dress like she has a li’l hood, li’l ghetto inside her; a stemme – part femme part stud a tomboy"'

Good gay females and babies' daddies: Black lesbian community norms and the acceptability of pregnancy, Sarah J. Reed, Robin Lin Miller, Maria T. Valenti & Tina M. Timm, 21st April 2011

'Stemmes presented themselves one day as femme and another day as stud; as such, they were visibly unrecognisable unless they divulged their gender identity. Stemmes expose the amorphous nature of gender identity and are invisible – silenced, ostracised or prescribed a gender identity.'

“It Ain’t All as Bad as it May Seem”: Young Black Lesbians’ Responses to Sexual Prejudice, Sarah J. Reed and Maria T. Valenti (2012)

'Stemmes, often blatantly ignored, derogated, or even physically threatened because of their vacillating gender identities, often made use of this strategy: "…if they wanted to act like a femme that day, they could get pleasured. If they wanted to act like a stud that day, they can pleasure. They got the best of both worlds actually. To me, that’s how I see it." '

Labelling, Butch, Femme Dyke Or Lipstick, Aren't All Lesbians The Same?: An Exploration Of Labels And "Looks" Among Lesbians In The U.S. South, Danielle Kerr, (2013)

'Short Dawg said, "A stem, for me, is a little mixture of a lot of different things. One day you can be super feminine, and the next day you can be not so feminine."' 'Jessica states: They [stem] might…have hair. They might not go straight to cutting their hair, or they might have haircuts, and some stems have short little afros, natural things.'

Good and Messy: Lesbian and Transgender Identities by Matt Richardson, taken from forum: Lesbian generations, L.J. Rupp, Nan Alamilla Boyd, R. Vanita, M. Richardson, S. Stryker (2013)

'“Stem” (or the combination of “stud” and “femme”) is a Southern African American term for someone who identifies as masculine and feminine.'

'Cultural Factors in the Adherence to Traditional Gender Roles in the Same-Sex Relationships of Black Women, Bianca D. Christian (2019)

'Stem. Another important term to consider in this subgroup is “Stem,” which is a term that is also almost exclusively utilized in the Black lesbian community. This term is a conglomeration of the aesthetics of the “Stud” and “Femme.” Often these women can appear very feminine one day and then appear very masculine the next day. Some of these women can also style themselves with both aesthetics simultaneously. '

Videos

WTH is a Stem?? - Amberscloset (2013)

The Black Lesbian Handbook: The Stem (2015)

[uwmspeccoll]

Milestone Monday

Poetry in Punk

On this day, December 30th, 1946, Patti Smith, a singer, songwriter, author, poet, photographer, and painter, was born in Chicago, Illinois. Often referred to as the "Godmother of Punk," Smith is known for her influential music that blends rock and poetry. Her debut album, Horses, released in 1975, is considered a landmark work in the punk rock genre. Beyond her music career, Patti Smith has written several books, including the acclaimed memoir Just Kids, which explores her relationship with photographer Robert Mapplethorpe and their experiences within the New York City artistic scene. Throughout her life, she has been a prominent cultural figure, advocating for artistic freedom and social change.

Images featured come from:

Our first edition of A Useless Death, a poem by Patti Smith that was published as a chapbook and distributed by Gotham Book Mart and Gallery in New York in 1972.

Ha! Ha! Houdini!, a poem written by Patti Smith and published as a chapbook. It was distributed by Gotham Book Mart and Gallery in New York in 1977.

Robert Mapplethorpe, released by Peter Weiermair and published by Robert Wilk in 1981. The contexts come from a catalogue of an exhibition sponsored by the Frankfurter Kunstverein, April 10-May 17, 1981, and features an introduction by Sam Wagstaff, the artistic mentor and benefactor to Robert Mapplethorpe and Patti Smith.

Some Women by Robert Mapplethorpe that features an introduction by one of the pioneers of New Journalism, Joan Didion. Our first edition was published in Boston by Bulfinch Press in 1989.

Robert Mapplethorpe by Richard Marshall with essays by American poet, literary critic essayist, teacher, and translator Richard Howard, and South African-born American writer and editor Ingrid Sischy. Our copy is the first cloth edition, published in New York: Whitney Museum of American Art; Boston: in association with Bulfinch Press: Little, Brown and Company in 1988.

Mapplethorpe prepared in collaboration with the Robert Mapplethorpe Foundation with an essay by American art critic, philosopher, and Professor Arthur C. Danto. This first edition was published in 1992 by Random House in New York.

-View more Milestone Monday posts

-Melissa, Special Collections Graduate Intern

[covenofvenus]

🌸The History of the Magic of Spring🌸

Greetings fellow seekers of the arcane,

As the spring season is now upon us, let's delve into all of the mystical tapestries of spring, a season that has long been revered in occult and metaphysical traditions for its potent symbolism, transformative energy, and profound connection to the cycles of life, death, and rebirth.

As we explore its numerological significance, associated deities, spirits, colors, and herbs, we shall also draw upon the wisdom of the great Renaissance magician, Cornelius Agrippa, to illuminate its deeper occult meanings.

The Occult and Metaphysical Significance of Spring

Spring is the season of renewal, a time when the Earth awakens from its winter slumber and bursts forth with life. In the grand wheel of the year, spring represents the Maiden aspect of the Triple Goddess—youth, innocence, and the promise of new beginnings. It is a time of balance, as the vernal equinox marks the moment when day and night are of equal length, symbolizing harmony between light and dark, masculine and feminine, and the seen and unseen worlds.

Metaphysically, spring is associated with the element of Air, the realm of thought, renewal, change, communication, innovation and inspiration. It is a time to plant seeds—not only in the soil but also in our minds and spirits. The energy of spring is one of expansion, creativity, and the breaking of old patterns to make way for new growth. This season invites us to align ourselves with the rhythms of nature, to shed the stagnation of winter, and to embrace the vitality of life force energy that flows abundantly during this time.

Numerology of Spring

In numerology, spring resonates with the number 3, a sacred number that embodies creativity, manifestation, and the divine trinity. The number 3 is often associated with the Maiden, Mother, and Crone; the past, present, and future; and the mind, body, and spirit. It is a number of synthesis and harmony, reflecting the balance of the equinox and the triadic nature of spring’s energy: growth, renewal, and transformation.

The number 3 also corresponds to the planet Jupiter, which governs expansion, abundance, and optimism—qualities that are deeply aligned with the spirit of spring. In magical workings, the energy of the number 3 can be harnessed to amplify intentions related to creativity, fertility, and new beginnings.

🌸Western, Eastern, South American & Indigenous Deities and Spirits of Spring

Spring is ruled by a pantheon of deities and spirits who embody its themes of rebirth, fertility, and renewal globally & culturally.

African American Traditions and Spring

African American spiritual practices, which often blend African ancestral traditions with Christian, Indigenous, and Caribbean influences, hold spring as a time of profound spiritual significance. The season’s themes of rebirth, resilience, and liberation resonate deeply within African American culture, reflecting both the struggles and triumphs of the community. In the tradition of Hoodoo, a African American folk magic system rooted in African spirituality, spring is a powerful time for rituals of renewal, cleansing, and growth. Hoodoo practitioners often perform spring cleaning rituals, both physically and spiritually, to clear away stagnant energy and invite prosperity.

This might involve sweeping the home with herbs like hyssop or basil, or using Florida Water (a traditional cologne with purifying properties) to cleanse the aura. Spring is also a time for planting roots—both literal and metaphorical. In Hoodoo, roots like John the Conqueror and High John the Conqueror are used in spells for strength, courage, and overcoming obstacles. These roots, planted in the fertile soil of spring, symbolize the resilience and determination of the African American spirit.

Spring is also a time for honoring ancestors in African American traditions. Practices such as setting up ancestor altars with fresh flowers, candles, and offerings of food or drink are common. The ancestors are seen as guides and protectors, and their wisdom is sought during this time of renewal. The blooming of flowers and the return of life to the land are reminders of the enduring presence of those who came before us. For many African Americans, gardening is also not just a practical activity but a spiritual one. The act of planting seeds, tending to the soil, and watching life emerge is a powerful metaphor for resilience and growth. This connection to the Earth is deeply rooted in African traditions, where the land is seen as sacred and imbued with spiritual energy. Spring gardening rituals often include prayers or blessings for the seeds, asking for a bountiful harvest and the blessings of the Earth.

African Traditions and Spring

In many African traditions, spring is celebrated as a time of renewal, fertility, and the return of life-giving rains. The Yoruba people of West Africa, for example, sometimes honor Oshun, the goddess of rivers, love, and fertility, who is often associated with the vitality and beauty of spring. Oshun’s energy is invoked during rituals to bring abundance, healing, and joy. Her sacred colors are yellow and gold, and offerings of honey, oranges, and sunflowers are made to her.

In ancient Egyptian cosmology, spring also aligns with the festival of Sham el-Nessim, which marks the beginning of the spring season and is celebrated with feasts, music, and offerings to the gods. The goddess Isis, who embodies the power of resurrection and renewal, is often honored during this time. Her story of resurrecting Osiris mirrors the themes of death and rebirth that are central to spring.

Indigenous Traditions and Spring

For many Indigenous peoples of the Americas, spring is a time of profound spiritual significance, marked by ceremonies that honor the Earth’s awakening. The Hopi people of the southwestern United States celebrate the Bean Planting Ceremony, a ritual that aligns with the spring equinox and involves prayers for fertility, rain, and a bountiful harvest. The Green Corn Ceremony, practiced by many Indigenous nations, is another springtime ritual that celebrates renewal and purification.

In the Andean traditions of South America, spring is associated with Pachamama, the Earth Mother, who is revered as the source of all life. Offerings of flowers, seeds, and coca leaves are made to her during rituals to ensure her blessings of fertility and abundance. The Inti Raymi, or Festival of the Sun, celebrated by the Inca, marks the winter solstice in the Southern Hemisphere (which aligns with the spring equinox in the Northern Hemisphere) and honors the return of the sun’s life-giving energy.

Latin/Hispanic/South American Traditions and Spring

In Latin America, spring is often celebrated with vibrant festivals that blend Indigenous, African, and Catholic traditions. In Mexico, the arrival of spring is marked by the Festival of Xipe Totec, the Aztec god of renewal and agriculture. Xipe Totec, whose name means “Our Lord the Flayed One,” is associated with the shedding of old skin and the emergence of new life. His rituals involve offerings of seeds and flowers, as well as dances and processions.

In Brazil, the Festival of Iemanjá, the Yoruba-derived goddess of the sea and fertility, is celebrated in February, aligning with the energy of spring in the Southern Hemisphere. Offerings of flowers, mirrors, and perfumes are cast into the ocean to honor her and to seek her blessings of abundance and protection.

Asian Traditions and Spring

In many Asian cultures, spring is celebrated as a time of renewal and the blossoming of life. In China, the Spring Festival, or Lunar New Year, marks the beginning of the agricultural year and is a time for family reunions, feasts, and rituals to honor ancestors and deities. The goddess Nuwa, who is credited with creating humanity and repairing the heavens, is sometimes invoked during this time for her creative and restorative powers.

In Japan, the arrival of spring is celebrated with Hanami, the viewing of cherry blossoms, which symbolize the fleeting beauty of life and the impermanence of all things. The Shinto goddess Konohanasakuya-hime, who is associated with flowers and volcanic energy, is honored during this time for her connection to the life force and the cycles of nature.

In India, the festival of Holi marks the arrival of spring and is celebrated with vibrant colors, music, and dance. Holi honors the divine love of Radha and Krishna and the triumph of good over evil, as well as the renewal of social bonds and the joy of life.

Caribbean Traditions and Spring

In the Caribbean, spring is often celebrated with festivals that blend African, Indigenous, and European influences. In Trinidad and Tobago, the Carnival season, which culminates in February or March, is a time of exuberant celebration, music, and dance. While Carnival does have some Christian roots, its origins can be traced all the way back to African and it's vibrant energy and themes of liberation and renewal align with the spirit of spring.

In some Afro-Caribbean traditions such as Santería and Vodou, spring can be a time to honor deities associated with fertility, growth, and the life force. Oshun (Santería) and Erzulie (Vodou) are both spirits of love, beauty, and abundance who are sometimes celebrated during this season. Offerings of flowers, sweets, and honey can be made to them to invoke their blessings.

Western Traditions and Spring

Persephone (Greek): The goddess of spring and queen of the underworld, Persephone’s return from the realm of Hades marks the arrival of spring. Her story symbolizes the cyclical nature of life, death, and rebirth.

Eostre/Ostara (Germanic): The namesake of Easter, Eostre is a goddess of dawn, fertility, and the rising sun. She is often depicted with hares and eggs, symbols of fertility and new life.

Flora (Roman): The goddess of flowers and blossoming plants, Flora presides over the beauty and abundance of spring.

Green Man (Celtic): A spirit of nature and vegetation, the Green Man represents the regenerative power of the Earth and the life force that surges through all living things.

Freya (Norse): Though often associated with love and war, Freya also embodies the fertility and vitality of spring.

These deities and spirits remind us of the sacredness of the natural world and the interconnectedness of all life. They invite us to honor the cycles of nature and to celebrate the return of light and warmth.

🌸Colors of Spring

The colors of spring are imbued with magical significance, each carrying its own vibrational energy:

Green: The color of growth, renewal, and the Earth itself. Green is associated with the heart chakra, healing, and abundance.

Yellow: The color of the sun, intellect, and joy. Yellow energizes the mind and inspires creativity.

Pink: The color of love, compassion, and new beginnings. Pink opens the heart to self-love and emotional healing.

Pastels: Soft hues of lavender, mint, and peach carry gentle, nurturing energies that support spiritual growth and inner peace.

These colors can be incorporated into rituals, altars, and clothing to align with the energy of spring and to invoke its blessings.

🌸Herbs of Spring

The herbs of spring are potent allies in magical workings, each carrying the essence of the season’s vitality:

Dandelion: A symbol of resilience and transformation, dandelion is used in spells for wishes, divination, and spiritual growth.

Nettle: A herb of protection and purification, nettle clears stagnant energy and strengthens the body and spirit.

Violet: Associated with love, healing, and intuition, violet is a sacred herb of spring that connects us to the fairy realm.

Lemon Balm: A herb of joy and abundance, lemon balm uplifts the spirit and attracts prosperity.

Elder: A tree of regeneration and protection, elder is sacred to the goddess Freya and is used in rituals of healing and transformation.

These herbs can be used in teas, sachets, or incense to harness the energy of spring and to support magical intentions.

🌸Cornelius Agrippa on the Occult Significance of Spring

Cornelius Agrippa, the renowned Renaissance magician and philosopher, offers profound insights into the occult significance of spring. In his seminal work, Three Books of Occult Philosophy, Agrippa describes spring as a time when the celestial influences of the Sun and Jupiter are at their peak, infusing the Earth with life-giving energy. He associates spring with the eastern direction, the element of Air, and the zodiac signs of Aries and Taurus, which govern new beginnings and material abundance.

Agrippa emphasizes the importance of aligning magical practices with the seasons, noting that spring is an auspicious time for rituals of growth, healing, and manifestation. He also highlights the role of the planets in shaping the energy of the season, particularly the influence of Venus, which governs love, beauty, and fertility, and Mars, which brings vitality and courage.

Agrippa’s teachings remind us that spring is not only a time of external renewal but also an opportunity for inner transformation. By attuning ourselves to the rhythms of nature and the celestial forces at play, we can harness the power of spring to manifest our desires and to deepen our connection to the divine.

🌸🌸 Conclusion 🌸🌸

Spring is a season of profound metaphysical significance, a time when the Earth awakens and the veil between worlds grows thin. Its numerological resonance with the number 3 reflects its themes of creativity, balance, and transformation, while its associated deities, spirits, colors, and herbs offer a rich tapestry of magical correspondences.

Drawing upon the wisdom of Cornelius Agrippa, we see that spring is a time to align ourselves with the celestial forces of renewal and to embrace the boundless potential of new beginnings. Additionally, when we are exploring the traditions of African Americans, Africans, Indigenous peoples, Latin America, Asia, the Caribbean and Western Europe, we gain a richer, more intersectional understanding of all of the spring’s magic.

As we walk this path of the arcane, let us always try to honor the sacred energy of spring, planting seeds of intention and nurturing them with love, wisdom, and gratitude.

For in the cycle of the seasons, we find the eternal dance of life, death, and rebirth—a reminder that we, too, are part of the great cosmic web.

Blessed be, dear seekers. May the magic of spring this year always guide you on your journey.

xx

Lyonessa Hart🌸

[whencyclopedia]

Jamestown Colony of Virginia

The Jamestown Colony in Virginia was the first permanent English settlement in North America founded in 1607. It was the third attempt of the Virginia Company of London to establish a permanent trade center in the Americas following the failures of the Roanoke Colony (1587-1590) and the Popham Colony of 1607-1608.

The primary objective of the Jamestown Colony was profit for the shareholders who financed the expedition, and at first, it seemed a failure. Those who had been selected to establish it turned out to be unfit for the task except for Captain John Smith (l. 1580-1631) who was able to negotiate with the native Powhatan tribe and assume leadership of the colonists.

After Smith left the settlement for England in 1609, however, the colony seemed doomed, enduring the harrowing winter of 1609-1610 which killed off most of the colonists. A supply ship in May 1610 brought two of the men who would reverse their fortunes: John Rolfe (l. 1585-1622) and Sir Thomas Gates (l. c. 1585-1622) and another, in June 1610 CE would bring the third, Thomas West, Lord De La Warr (l. 1577-1618).

Rolfe had a novel idea for a new blend of tobacco which became the colony's cash crop, Gates organized the colony as governor, and De La Warr prevented its desertion and directed Gates. In 1611, Sir Thomas Dale (l. c. 1560-1619) arrived who would initiate the founding of the Henricus Colony of Virginia and begin the removal of the indigenous Powhatan tribes from the surrounding lands.

Tobacco was a labor-intensive crop, which led to the policy of indentured servitude and, eventually, slavery. In 1619, the first Africans arrived in Jamestown and, at first, seem to have worked in the same capacity and under the same policies as indentured servants.

That same year, the assembly of the House of Burgesses was convened, the first English representational governing body in the Americas and, also, the Jamestown Brides program was launched. In 1622, the Powhatan Confederacy launched a united attack to drive the settlers out and, in 1624, King James I of England (r. 1603-1625) took direct control of Jamestown through a royal charter.

The settlement continued to thrive until 1699 when it was abandoned in favor of Williamsburg as the colonial capital. The site was purchased by a couple, Mr. and Mrs. Edward Barney, in 1892 to prevent development, and preservation efforts began in 1900 with archaeological efforts continuing to the present day in the area, now a national park.

Early Colonization Efforts

European colonization of the Americas began with Christopher Columbus (l. 1451-1506) who colonized the islands of the Caribbean for Spain between 1492-1504. The success of these early colonies and the wealth they generated inspired Spain to send others to search for gold and expand its colonial presence until, by the end of the 16th century, Spain held lands ranging from the Caribbean through South, Central, and southwestern North Americas. France and the Netherlands had also claimed lands in the region during this same time. England, therefore, was a latecomer.

Initially, England contented itself with funding privateers like Sir Francis Drake (l. c. 1540-1596) and Sir Martin Frobisher (l. c. 1535-1594) to seize the cargo of Spanish ships returning from their colonies or raid Spanish port cities, but eventually, Queen Elizabeth I of England (r. 1558-1603) understood it would be more efficient to establish their own bases in the Americas where ships could be built and launched against the Spanish. She gave the job of organizing a concerted effort to Sir Walter Raleigh (l. c. 1552-1618) who sent the Amadas-Barlowe Expedition to claim suitable land, not already claimed by a European nation, in 1584.

Receiving a good report from his captains upon their return, Raleigh named the region they had mapped Virginia after Elizabeth, the virgin queen, and sent another expedition, under Ralph Lane (d. 1603) who established a short-lived colony at Roanoke (in modern-day North Carolina). Lane's colony would not survive, mainly owing to Lane's mistreatment of the natives and betrayal of their initial hospitality, and neither would a second one established by John White in 1587, the so-called “lost colony”.

Continue reading...

[edenfenixblogs]

Look what Google just recommended to me!!!!

I already own (and love) Shabbat and Portico.

But I am OBSESSED with the rest and must acquire them immediately.

Top of my list is Love Japan because LOOK AT THIS BEAUITFUL BOWL OF MATZO BALL RAMEN!!!!!

We hear a lot about Jewish people in Europe and MENA, but we do not hear a lot about Jewish culture as it blends with East Asian cultures, and that’s a shame. Not just because it erases the centuries of Jewish populations there, but also because there are plenty of people of mixed decent. People who may not have come directly from Jewish communities in East Asia, but people who have a Japanese Father and a Jewish Mother, for example. Or people in intercultural marriages. These are all real and valuable members of the Jewish community, and we should be celebrating them more. This cookbook focuses on Jewish Japanese American cuisine and I am delighted to learn more as soon as possible. The people who wrote this book run the restaurant Shalom Japan, which is the most adorable name I’ve ever heard. Everything about this book excites and delights me.

And of course, after that, I’m most interested in “Kugels and Collards” (as if you had any doubts about that after the #kugel discourse, if you were following me then).

This is actually written in conjunction with an organization of the same name devoted to preserving the food and culture of Jews in South Carolina!

I’m especially excited to read this one, because I have recently acquired the book Kosher Soul by the fantastic, inimitable Michael J. Twitty, which famously explores faith and food in African American Jewish culture. I’m excited to see how Jewish soul food and traditions in South Carolina specifically compare and contrast with Twitty’s writings.

I’m also excited for all the other books on this list!

A while ago, someone inboxed me privately to ask what I recommended for people to read in order to learn more about Jewish culture. I wrote out a long list of historical resources attempting to cover all the intricate details and historic pressure points that molded Jewish culture into what it is today. After a while I wrote back a second message that was much shorter. I said:

Actually, no. Scratch everything I just said. Read that other stuff if you want to know Jewish history.

But if you want to know Jewish culture? Cookbooks.

Read every Jewish cookbook you can find.

Even if you don’t cook, Jewish cookbooks contain our culture in a tangible form. They often explain not only the physical processes by which we make our meals, but also the culture and conditions that give rise to them. The food is often linked to specific times and places and events in diaspora. Or they explain the biblical root or the meaning behind the holidays associated with a given food.

I cannot speak for all Jews. No one can. But in my personal observation and experience—outside of actual religious tradition—food has often been the primary means of passing Jewish culture and history from generation to generation.

It is a way to commune with our ancestors. I made a recipe for chicken soup or stuffed cabbage and I know that my great grandmother and her own mother in their little Hungarian shtetl. I’ll never know the relatives of theirs who died in the Holocaust and I’ll never meet the cousins I should have had if they were allowed to live. But I can make the same food and know that their mother also made it for them. I have dishes I make that connect me to my lost ancestors in France and Mongolia and Russia and Latvia and Lithuania and, yes, Israel—where my relatives have lived continuously since the Roman occupation even after the expulsions. (They were Levites and Cohens and caretakers of synagogues and tradition and we have a pretty detailed family tree of their presence going back quite a long time. No idea how they managed to stay/hide for so long. That info is lost to history.)

I think there’s a strong tendency—aided by modern recipe bloggers—to view anything besides the actual recipe and procedures as fluff. There is an urge for many people to press “jump to recipe” and just start cooking. And I get that. We are all busy and when we want to make dinner we just want to make dinner.

But if your goal isn’t just to make dinner. If your goal is to actually develop an understanding of and empathy for Jewish people and our culture, then that’s my advice:

Read cookbooks.

[ptseti]

The Gullah people are descendants of African slaves who live primarily on the Sea Islands and coastal regions of South Carolina, Georgia, and parts of Florida and North Carolina. Brought to the region from West Africa in the 18th century for their agricultural expertise, especially in rice cultivation, they developed a unique culture influenced by their African heritage and isolation from the mainland due to the region's geography.

Their language, also called Gullah, is a Creole blend of English and various West African languages. It serves as both a functional means of communication and a cultural link to their African roots. Gullah culture is renowned for its vibrant traditions, including storytelling, spiritual practices, cuisine, and folk arts like basket weaving, which have been preserved over generations.

The Gullah culinary tradition—characterized by ingredients like rice, seafood, and okra—is a foundation of Southern soul food. Additionally, Gullah music, spirituals, and dance have significantly influenced broader African American culture.

Today, the Gullah/Geechee Cultural Heritage Corridor, established by Congress, protects and promotes Gullah heritage. Despite pressures from land development, the Gullah people continue to celebrate and preserve their history, representing a profound connection between African and American cultures.

[brooklynmuseum]

Miriam Makeba’s portrait greets and grounds you near the entry of Africa Fashion. 

Makeba’s emergence as a singer on the global stage coincided with the emergence of an independent African continent. Her songs blended popular musical styles like Jazz with indigenous South African melodies, often incorporating Swahili, Xhosa, and Sotho lyrics. Well-known globally for her songs Pata Pata and Qongqothwane (the Click Song) Makeba’s music and self-fashioning embodied African liberation and identity. 

For many Africans, her music gave voice to the dawn of a new independent era and the liberation struggles that remained. Affectionately referred to as Mama Africa by her legions of fans, Makeba came to embody a forward-looking Pan-Africanism and Black Power. 

See this portrait of Makeba and hear her singular voice as part of the African Cultural Renaissance that welcomes you in #AfricaFashionBkM.

📷 Jürgen Schadeberg (German, 1931–2020). Miriam Makeba, 1955. © Estate of Jürgen Schadeberg (Photo: Courtesy of the Estate of Jürgen Schadeberg)

[uncharismatic-fauna]

Go Go Southern Lesser Galago!

Also known as the South African galago or the mohol bushbaby, the southern lesser galago (Galago moholi) is a small primate from the Galagidae, or bushbaby family. As the name implies, they are located only in southern Africa, from northern South Africa up to Rwanda. Their preferred habitats are savannahs and semi-arid woodlands, where they can often be found high in the canopy, and they are particularly associated with Acacia trees.

The mohol bushbaby is one of the smaller members of its group; at full height they stand no taller than 15 cm (6 in) and weigh only 225 g (7.9 oz). In fact, their tail is longer than their body, easily reaching 23 cm (9 in) in length. While it isn't prehensile, the tail is still an important tool for climbing as it gives G. moholi an excellent sense of balance. Along with their incredible tails, the South African galago also has one of the largest sets of ears of any primate, proportional to its size; these ears can move independently to help the southen lesser bushbaby avoid predators. G. moholi's final distinguishing feature are their eyes, which are incredibly large and a distinctive orange color. Individuals themselves tend to be gray or light brown, which helps them blend in with their surroundings.

South African galagos are almost strictly nocturnal. At night, they forage through the canopy for moths and beetles. These bits of protein, however, are supplemental; the mohol bushbaby's primary source of food is gum, or hardened sap from the Acacia plant. G. moholi has several adaptations allowing it to specialize in gum extraction, including scraping teeth on the lower mandible; long, rough tongues; and digestive systems that have evolved to break down and ferment the tough substance. Because they have very few defense mechanisms, southern lesser galagos are a common prey for many nocturnal species like eagles, owls, snakes, mongooses, civets, and gennets.

One of the few ways the South African bushbaby avoids predation is through its social units. Groups of 2-7-- typically composed of a female, her young, and a few non-reproductive relatives-- forage together. In these groups, their collective night vision and highly-developed hearing allow them to detect and alert each other to predators long before the threat is immanent. While individuals forage seperately, they keep in contact via loud, high pitched calls that can serve as a warning for predators, a point of contact between mother and offspring, or a territorial warning between males.

Male G. moholi live seperately from social groups, and are highly aggressive against other males invading their territory. This area often overlaps that of several female-led groups, but they only come in contact with each other during the mating season. Unusually, the species has two mating seasons through the year; from January to Februrary (late summer) and from October to November (early spring). Following a gestation period of 120 days, females produce a single set of twins each mating season. Each set is weaned after approximately 3 months, and young become fully mature at 300 days. Female offspring may join the mother's group, while males leave to establish their own territory. In the wild, an individual may live up to 16 years.

Conservation status: The IUCN has classified the South African bushbaby as Least Concern. Studies have indicated that the population is stable and, in some areas, increasing. However, in other areas the species is threatened by habitat loss and possibly capture for the pet and bushmeat trade.

If you like what I do, consider leaving a tip or buying me a ko-fi!

Photos

Gerald Doyle

Peter Webb via iNaturalist

[star-of-zeus]

Zeus Aethiops

For the people that come to my blog for the information, the actual post is in non-italics below (pls scroll down quick otherwise I'll look like a dork haha) For the people who have been following my blog for a longer period of time (and those fond of the dramatic) I set this scene:

You open your eyes to a sturdy oak table in the midst of a dimly room that smells of moisture, frankincense, and oakmoss. A deep blue satin cloth, about three feet long, lies upon the table, held down on either side by lit candelabras. The surface is bare otherwise. Pulled out a few feet behind the table is matching sturdy oak armchair with eagle head detailing on each of the armrests, and a royal purple satin cushion. Star-of-Zeus enters, wearing square glasses and holding a old and dusty-looking leather-bound tome that's thicker than their hands can hold stretched to their max, so Star chooses to hold it to their chest wrapped in their arms. Walking to the table, you watch them lean forward to set the heavy tome on the table with a solid, resounding thump before wiping the dust off their shirt and blowing the rest of the dust off of the tome before opening it up. [You, standing on the other side of the table, are subsequently covered in this dust and have to stand there looking like a bizarre snowman while listening] Finally, Star looks up through their glasses after settling in their chair and grins.

"My, my. It seems that it's been three years and two months since my last Zeus Epithets post. Finally ready for the next one?"

Zeus Aethiops is one of my absolute favorite epithets that I commonly venerate, and though this epithet comes rooted in a notion of race that looks nothing like our modern concept, I will take a stand (likely in another post so I can make a full breakdown/rant) against other opinions that I've seen that advise against blending the two (ancient and modern) notions of race when venerating such an epithet, but it will be written entirely from my perspective and experience, so be aware. But I digress - let's get back to learning about this epithet. Some translations I've seen include "of the Burnt Face" or "Ethiopian". Our beloved resource, theoi.com, defines this epithet of Zeus as:

AE′THIOPS (Aithiops), the Glowing or the Black. A surname of Zeus, under which he was worshipped in the island of Chios. (Lycophron, Cass. 537, with the note of Tzetzes.)

If we go to the theoi.com translation of Lycophron's Alexandra, 537, we find the line:

But we have one, yea one beyond our hope, for gracious champion, even the god Drymnius Promatheus Aethiops Gyrapsius, who, when they who are destined to suffer things dread and undesirable shall receive in their halls their fatal guest, the swooping robber, the wandering Orthanes...

The god referred to only by epithets in this line "Drymnius Promatheus Aethiops Gyrapsius" is indeed Zeus - the epithets Aethiops + Gyrapsius are cult-names from Chios, while Drymnius is from Pamphylia and Gyrapsius from Thurii.

So, now that we've established this epithet is from Chios, and attributed to Zeus, let's take a closer look at what the term Aethiops might signify. Merriam-Webster defines Aethiops as an alternate spelling of Ethiops, and defines Ethiops and simply meaning "Ethiopian" but the old Greek etymology of the word is a compound, according to Wikitionary --

From Proto-Hellenic*aitʰiyokʷs, explained since antiquity as αἴθω (aíthō, “I burn”) +‎ ὤψ (ṓps, “face”), though this is likely a folk etymology.

Thus, it wouldn't be outrageous at all to assume that this was a word used to refer to peoples with higher amounts of melanin, or generally those from the ancient region of Aethiopia, which was a geological term used to designate the "upper nile region of Sudan, south of the Sahara, and certain areas of Asia."

But yes, overall the opinion of scholars and historians is that the term 'Aethiops' could reasonably be associated with features that are associated with the Black or African people of today. As an American, I could go on long-winded talks about my experience worshipping a Justice god that is depicted as what I see as Black (not even to mind that I started following this path in 2020, during another round of BLM protests) but that's a topic for a more personal post instead of a research-based one. In the meantime, please look at one of my favorite pictures of Zeus from a Laconian cup, and if you look at me in my beautiful hazel eyes and tell me those aren't locs coming from Zeus's head I'm having Sisyphus crush you under his boulder.

Was Homer's Zeus Black?

Chios is a Greek island off the Western coast of Turkey, and I watched one video that also talks about Zeus Aethiops but makes the claim that Homer is from the island of Chios (which the author provides evidence for from the Homeric hymn to Apollo) and therefore the Zeus that Homer writes about in the Iliad and the Odyssey could be Black. In my personal opinion, they're playing very fast and loose with the Homeric Question, something scholars have been arguing over for centuries, but at the same time I very firmly believe in the mystery of history and the fact that it is incredibly important for people to see themselves in the deities or things they venerate, and at the very least it's great food for thought. The Homeric Question is outside the scope of this post, but I just wanted to share some other resources in case someone wants a longer more video-essay style post about Zeus Aethiops and that perspective on Homer.

But yes. That's all I have to say on Zeus Aethiops for now, but rest assured I will be shouting from the rooftops about him again soon. I'm so happy I finally did a post on one of my (probably top 5?) Zeus epithets, even though there isn't a lot to be found about this surname of his since I suppose it could have been considered minor in the ancient world.

As always, feel free to send in requests for other epithets!

[mskyrathefroggo]

Symone West

Basic Information

Full Name: Symone West (Birth Name: Amogelang)

Age: 22 (as of 2021)

Gender: Transgender Woman (Transitioned at 18)

Pronouns: She/Her

Ethnicity: South African (Maternal Side), Italian (Paternal Side), with Hebrew heritage from her great-grandfather

Alias: Barista, Baby,

Birthday: November 8th

Place of Birth: Chicago, Illinois

Current Residence: Stockton California, USA

Relationship Status: “it’s complicated?”

Si-MOHN (The "o" like in "bone," but with a softer, quieter tone)

• This reflects the quiet strength and the softer side of Symone that she doesn't always show, aligning with her introspective nature.

stylish and confident, reflecting her bold, fierce persona while still maintaining an elegant and unique flair. It emphasizes a sense of individuality and power, which aligns well with her strong sense of identity and presence.

Appearance

Height: 5’7” to 5’8”

Skin Tone: Dark

Hair: Jet black

Eyes: Pure silver

Scars: Noticeable scars across her body, primarily from childhood abuse

Tattoos:

Transgender symbol tattooed from her left shoulder to bicep

Medusa tattoo on her pelvis, symbolizing her inner strength and defiance against being victimized

Style:

Skilled in cosmetics and makeup artistry, often presenting a polished and expressive appearance to mask deeper emotions

Prefers loose, flowing clothing—especially loose shirts—due to not having undergone top surgery. Clothing often feels like it "swallows" her because of her bigger lower half, but she finds comfort in the freedom it represents.

Loves wearing bell bottoms, tassels, and flowy fabrics, which symbolize how free she longs to feel.

Often dresses in ways that allow her to feel the wind, enjoying the sensation of the breeze gliding across her skin and through her hair—something that makes her feel alive and grounded.

Personality

Core Traits: Resilient, ambitious, emotionally guarded, resourceful, empathetic, and always on edge (though well-hidden)

Strengths:

Survival Instincts: Highly adaptable and strategic, having learned to navigate harsh environments

Negotiation Skills: Exceptionally persuasive and able to talk her way out of difficult situations

Self-Taught Fighter: Knows how to defend herself, both physically and emotionally

Makeup Artistry: Uses cosmetics both as self-expression and a form of armor

Singing & Music Appreciation: Learned to sing in church, developed a love for soul music

Blending In: Can be invisible when she needs to be but also knows how to stand out strategically

Charitable Leadership: Donated and raised over $200,000 for trans youth charities, driven by the desire to help others like her grow up with better opportunities than she had.

Weaknesses:

Emotional Repression: Bottles up her feelings and struggles with vulnerability

Trust Issues: Finds it difficult to let others in due to past betrayals

Struggles Under Pressure: Years of constant stress have left her body hyper-sensitive to high-pressure situations, often triggering anxiety responses

Health Issues: Has slight asthma, which can flare up under stress or physical exertion

Sleep Deprivation: Struggles to rest, often plagued by memories and anxieties that keep her awake.

Backstory

Childhood:

Raised in Chicago, Illinois, with South African and Italian heritage

Her mother was in and out of the hospital, leaving Symone to be primarily raised by her abusive father

Faced religious oppression from her father’s side, where faith was weaponized rather than used for comfort

Nearly sent to military school by her father—her mother’s intervention stopped it, but at the cost of her own health, landing her in the hospital

Grew up fast due to neglect and trauma, with minimal support from extended family

Faced intense discrimination at school, particularly during her transition

Turned to the church for answers, where she learned to sing and fell in love with soul music

Family Relationships:

Mother:

Their relationship is strained due to her mother’s poor health and emotional detachment, but Symone still deeply cares for her.

Father:

Physically and emotionally abusive, responsible for most of her scars.

The last time she saw him was at her high school graduation, where he gave her a brief, detached “congrats” before disappearing from her life permanently.

His words, “She’s better looking like everyone else than being seen in the crowd like that,” still haunt her.

Grandparents: Were largely absent in her life.

Adulthood & Struggles:

Transitioned at eighteen and faced severe discrimination both personally and professionally.

Diagnosed as HIV-positive, which fueled her activism and desire for justice.

Endured an abusive relationship, feeling trapped because it was the first time she had ever felt "cared for."

Worked under a discriminatory boss in California, where she was objectified and undervalued, who only to her because of her looks, the same boss that assaulted her and forced her to keep quiet leading her to quit.

Almost earned her master’s degree in biomedical engineering but was denied it due to racial and bureaucratic discrimination.

Considered moving back to her birth country but ultimately settled in California, hoping for a better life.

Raised and donated over $200,000 to trans youth charities, determined to give others the support and chances she never had.

Often recalls her father’s words: “No one cares about how you feel.”

Symone’s future was stolen from her before it had the chance to begin. She grew up trapped in a cycle of abuse, discrimination, and survival. Opportunities were taken from her—not because she lacked the ability, but because of who she was and where she came from. Her potential was constantly overshadowed by a world that wanted her to stay invisible.

Beliefs and Values

Faith & Spirituality:

Grew up experiencing religion as oppression from her father's side.

Despite this, she sought comfort in church during her youth, searching for answers and emotional refuge.

Activism:

Strong advocate for LGBTQ+ rights, HIV awareness, and fighting discrimination.

Deeply motivated to help trans youth through charity and activism, ensuring others can grow up safer and stronger than she did.

Personal Philosophy:

Believes in enduring pain silently but secretly longs to be heard and understood.

Chose the name Symone because it means “to be heard”—something she never felt as a child.

Skills and Hobbies

Negotiation: Great at talking her way out of tough situations.

Fighting: Self-taught, knows how to protect herself.

Makeup Artistry: Skilled in cosmetics as both an art form and armor.

Singing: Developed a love for soul music from her time in church.

Blending In: Able to adapt socially and stay unnoticed when needed.

Dance: Symone is infact an experienced dancer in Vogue

Emotional Struggles

Bottles up emotions, using a stoic mask to protect herself.

Fears abandonment and rejection, which keeps her in toxic relationships longer than she should be.

**Struggles under pressure—**her body treats stress as a life-or-death situation due to her past.

Hides pain through distractions, like online shopping and keeping busy.

Trivia

Coping Mechanism: Online shopping helps her calm down.

Symbolism: Medusa tattoo represents reclaiming power over her body and identity.

Hogwarts House: Slytherin

Not because she’s cold or manipulative, but because her strength, ambition, and survival instincts have been forged through struggle.

She has learned how to protect herself, fight for her place in the world, and assert her identity—hallmarks of Slytherin’s drive and resourcefulness.

Her resilience, self-reliance, and ability to adapt to difficult environments define her as a true Slytherin survivor.

Guilty Pleasure: Secretly loves watching the Twilight series.

Was always Team Jacob but pretended to be Team Edward just to fit in.

Struggles with sleeping pill addiction, using them to escape extreme sleep deprivation and restless nights.

Still has some of her South African accent granted it’s very quiet in some cases when angry her accent comes out

The “Choose your path” feels like a day dream to Symone

Favorite flavor of ice cream is rocky road

Nails is on point Symone visits her favorite nail tech every three months but due to her absence her nail lady is worried about Symone’s whereabouts

What if Elias and Symone’s Worlds never crossed paths

If Symone had never met Elias, her life would have been shaped by a different kind of survival—one rooted in isolation, resilience, and the constant push to prove herself in a world that kept trying to break her down. Without Elias and the gang world, her journey would have been quieter but perhaps lonelier, still shadowed by the struggles she faced growing up.

Symone likely would have continued her fight to earn her master's degree in biomedical engineering and even accomplishing that dream. Despite the discrimination she faced, her ambition would have driven her to push through the barriers. It would have been a lonely battle—facing rejection, bureaucratic hurdles, and microaggressions without anyone by her side. She might have succeeded, but the cost would have been her emotional well-being. Her career would be her escape, her obsession, but it wouldn’t fill the emptiness. She would still be driven to fight for transgender youth, but her activism would be distant—through donations, silent contributions, support protest and online efforts. Without Elias, she wouldn’t have learned the power of direct confrontation or how to fight with fire. Instead, she’d be cautious, protecting herself by keeping her distance from the communities that reminded her of her own pain. Symone's trust issues would be even deeper. Without Elias breaking down her walls, she might have kept everyone at arm’s length. Friendships would be surface-level—polite conversations, distant connections. Love would be a fleeting thing, something she might crave but never truly reach for. She would convince herself she didn’t need anyone, even as loneliness pressed in. She would still wrestle with insomnia, haunted by memories and anxieties that have nowhere to land.

The scars of her childhood would feel heavier, with no one to remind her that she’s more than her past.

Her HIV diagnosis would be an even more isolating experience. Without Elias’ presence, she wouldn’t have anyone to lean on during the worst moments.

She might have fallen deeper into unhealthy coping mechanisms—sleeping pills, distractions, anything to numb the ache.

Elias, flawed and dangerous as he was, gave her a place to belong. Without him, Symone would always feel like an outsider—too hardened for academic spaces, too soft for the streets. Elias taught her how to fight for herself—not just to survive, but to live, to claim space, to take risks. Without him, she might never have found that fire. Elias would have been one of the few people to see her as more than her scars, her trauma, or her resilience. Without him, she might have convinced herself she wasn’t worth being loved that deeply. Symone’s activism, with Elias, was born from both pain and hope. Without him, it would be mechanical—a way to pay back what she could never truly heal from.

In a world without Elias, Symone survives. She achieves, she endures, she keeps moving—but she never truly lives. Her life is clean, controlled, but lacking in color and chaos. She might tell herself it’s better that way, that safety is enough, but deep down, she’d always feel the absence of something she couldn’t quite name.

There’s no one to see her, not really. No one to pull her out of herself, to challenge her, to fight with her and for her. She avoids danger, but she also avoids passion. And even though she wouldn’t know what she missed, some nights, when the silence gets too loud, she’d feel the ache of a life that could have been different.

Want to know more? Tell me what you think in the comments!

[life-imitates-art-far-more]

Winslow Homer (1836-1910) "Dressing for the Carnival" (1877) Oil on canvas Realism Located in the Metropolitan Museum of Art, New York City, New York, United States In this Reconstruction-era painting, Homer evokes the dislocation and endurance of African American culture that was a legacy of slavery. The central figure represents a character from a Christmas celebration known as Jonkonnu, once observed by enslaved people in North Carolina and, possibly, eastern Virginia. Rooted in the culture of the British West Indies, the festival blended African and European traditions. After the Civil War, aspects of Jonkonnu were incorporated into Independence Day events; the painting’s original title was Sketch—4th of July in Virginia. The theme of independence was particularly relevant in 1877, when emancipated Black Americans in the South saw an end to their brief experience of full civil rights with the final withdrawal of federal troops.