#Totem Heritage Center

[michael-massa-micon]

Totem - August 2023 This totem pole stands at the Alaska Native Heritage Center in Anchorage, Alaska. The second image shows two craftsmen working on a new totem. Every totem tells a story, beginning from the bottom. The totem of image one appears to be an indigenous creation story. It begins with everything hidden by the great spirit or father sky or whoever. Then the crow releases the earth from the darkness. Humanity is born and grows. Resting upon that growth or perhaps on the history of the tribe is the elder who carries the story of the tribe to this day. MWM

[themonkeycabal]

Haida-Tlingit Totem Pole at Alaska Native Heritage Center in Anchorage, Alaska

by Ruth Hager

[georgebuckettwo]

Ketchikan, Alaska, USA

In the far south of the USA’s most northerly state is Ketchikan, centered on a small cluster of colourful clapboard stilt houses perched over Ketchikan Creek. The city’s known for its Indigenous (mostly Tlingit and Haida) heritage and is one of the best places to see intricately carved and brightly painted totem poles in their intended environment. And what an environment it is, with luxuriant green forests, glacier-carved valleys and looming mountains just outside the city.

[waeirfaahl]

Interview with Dev Ross, Balto-2 writer

So, initially this interview was supposed to be published on the English-language Animation Source site, but the creator of the site took it down a couple of days ago, which is why all the interviews published on it with people who worked on Balto have been preserved only in the archives. It is unknown whether the site will return or sink into oblivion completely, but for now I will publish this interview here. So, this is another exclusive interview with Dev Ross, writer of Balto-2 Wolf Quest, published in 2022. 1. Were you aware of the original Balto before working on Wolf Quest and what you thought about Balto-1 after watching? How you got a feeling that it was the right choice for creating a great story? Universal film studio was very happy with my LAND BEFORE TIME sequels so they asked me to do the BALTO sequel. I’m a huge dog lover and I had a half wolf, half dog at the time. It was very difficult for my wolfdog to adjust to my other dogs. She never fit in. Ultimately, I had to give her to a woman who specialized in wolves so my wolf-dog could be happy among others like herself. I liked Balto 1 very much and felt that having had my own half dog, half wolf, I understood how they might feel being domesticated. Some are okay, others are not as the wolf is too strong in them. I based this journey on my husband's quest to find his true family. My husband's real father was a Native American who was murdered when my husband was very young. His mother was ashamed of having married him so hid my husband's Native heritage from him. Just before writing Wolf Quest, I journey with my husband to find his long lost family. It was a deeply emotional experience that I hoped to capture in my story. I also spent time with Native American Elders who imparted much of the wisdom in my story. 2. I’d like to ask about the fox, one of the totem spirits. I’ve heard that originally this character apparently supposed to be an arctic fox instead of a red fox. Is it true or not? If yes, what was the reason for changing? Yes, it was supposed to be an Artic Fox but I believe it might have been a color choice as Artic Foxes are white and our story contained the Great White Wolf. 3. Balto mentioned that he accidentally got lost, when he was very young. What caused his accidental separation from mother? Blizzard? Avalanche? Flood? Wild animals? Something else? Sorry, I don’t remember why. 4. I’ve read other interviews with you, and I became impressed and interested in your words about Aniu and how from a regular grey wolf, who loved her children and her pack, after death she became the white wolf deity (the Great Mother of all wolves) and a part of the Great Guardian Spirit. I got impression that all these totem spirits are ancient and, being mortal animals in the past, showed their nobility to the Great Spirit for becoming a spirit guardian after death. So, I’d like to ask you about the wolverine spirits. I noticed, every spirit guardian solely symbolized something (the raven, Aniu, the fox, the bear, Muru), while the spirit, who symbolizes fears, is not one, but three. How happened that not one, but three wolverines became these enigmatic spiritual beings? I choose three wolverines because the number 3 is very powerful to me. It can be birth, life, death, or have any number of other very important spiritual meanings surrounding survival. Wolverines teach us to survive and adapt, to call on every ounce of our courage. I used three to call in the need for courage in a life and death situation. How we respond to such situation often births something new in us. 5. I’m interested in the mystical cave with murals, where Aleu met Muru and other spirits (I even found a production drawing for this scene, i.e. Who You Really Are sequence — it depicts all animal spirits, the Great Guardian Spirit in the center and under it Aniu sits at the top of mountain, all wolves bow to her). Through Muru’s song there can be seen the mural even with Aleu’s destiny as a true leader of the pack from Aniu’s prophecy. How ancient it is? Is this cave a den of these spirits, even showing something from the past and the future? You answered your own question here. The cave was very ancient and contained the history of the present, past and future. To some of us who believe time is just a man made construct, all time exists at once. 6. Wolf Quest implied that Muk and Luk are orphans, so what happened with their mother? How Muk and Luk ended up living with Boris? Muk and Luk were established in the first film and no explanation was ever given to why they were orphaned. 7. I’m interested in the supernatural abilities Nava and Aleu have. And if Nava is a shaman, who is tied with nature, spirits and other animals, so what’s about Aleu? Did she inherit these abilities from Aniu? Is there potential for her as a leader and as a part spirit to find out more abilities during her journey with the pack? What depends for an animal to have these abilities? Yes, Aleu inherited her abilities and can increase them by challenging herself as a leader and a listener, especially to nature. I believe we ALL have these abilities; some to greater or lessor extent. My grandmother had them as did my mother - but my mother was afraid of them so repressed them. As inherited from my grandmother, I tend to have dreams that often give me glimpses into the future or into other people. I feel things and know things sometimes. I’m not afraid of it, thus I nurture it to allow my abilities to grow. My sister, however, suppresses her knowingness out of fear. Animals are far more intuitive than we are. They feel things more than think them. And animals inherit traits just as humans do. 8. After emotional scene, where Balto says good-by to Aleu, he meets Aniu, who reveals herself to him as his mother and then disappears. And this moment stuck with me for long time after first watching Wolf Quest, I always felt some bitter sadness in this scene, since Balto literally knew nothing about Aniu, just had vague memories about her white fur and warm voice, and she showed no tenderness toward him. Why she didn’t reveal herself to Balto earlier, during the original film, where she helped him to embrace his wolf nature, or even earlier? Why she didn’t stay with him a bit longer and told nothing about her past and her feelings toward her long-lost son, but just disappeared in the end of Wolf Quest? I am unable to answer anything about the first film as I had no story input into it. That said, I believe that sometimes we just must live with and accept the mysteries in our lives. Because of how the white wolf was established in the first film, I had to be consistent and keep her enigmatic. 9. In the end of Wolf Quest Nava and Niju are the only members of the pack, who stayed at their motherland, and Nava ran off to find Niju. What do you think about their fate, left unknown? What happened with them later? Will they survive together or not? Once again, their fate is one of the great mysteries of life. We can never know and, I feel, must accept that. For me, life is not really a story that has a neat, wrapped up ending. For me, life is mysterious and unpredictable. We cannot know everything. As soon as I think I know what will happened, it changes… 10. You worked as a writer on several sequels to The Land Before Time (The Great Valley Adventure, The Time of The Great Giving, Journey Through the Mists, Journey to Big Water). How you were aired for working on these movies? What was an inspiration for you during making of these stories? What themes you wanted to cover and develop? Yes, I was hired to write these sequels. My story inspiration always came from my own kids. I watched what they were going through in their young lives and then used lots of imagination to bring their issues to my dinosaur characters. My biggest theme then as it is today, is xenophobia – the fear of the unknown. I love exploring that topic because it exposes judgement, prejudice, and having fear of others just because they may seem different to us. 11. What difficulties you had, writing the scripts? Maybe the studying of dinosaurs? I love the study of dinosaurs and spent lots of time in museums with their bones! I also read a lot of books on them. My biggest difficulties were often trying to please the “higher ups” at Universal Studio. If they didn’t like my stories, I often had to start all over again. They also asked me to include different themes in the stories that I found difficult. THE TIME OF THE GREAT GIVING was supposed to celebrate our holiday of Thanksgiving as well as give a fire safety message! Watch that movie again and you’ll see it! 12. One of the unique and special elements in your movies was the fresh decision to make the predator dinosaur (Chomper the young tyrannosaurus) to be one of the main protagonists, as well as to show the predator dinosaurs (Chomper’s parents) as living beings, who can feel and love too, not as a killing machine from the original film or several later sequels. How did you get and develop this idea? Would you like to develop this concept in possible new film of the franchise or in your own stand-alone story? I developed Chomper in the second sequel but his parents were developed by another writer in a subsequent sequel so I had nothing to do with that story. And, no, I have no feelings to want to do any stand-alone story. I don’t own the franchise, nor did I have any say in what was further developed by other writers. 13. What animation projects are you proud of? What experience have you gained, working on them? And what would you recommend in writing a story, based on your experience? I am most proud of “Wolf Quest” and my work on Disney’s “Darkwing Duck.” Both were such different kinds of shows – both of which caused me to stretch out and use both sides of my talent: Adventure and comedy. Now I only work in live-action, which is stretching out in an new way. I love human actors! I think my best recommendation for writing stories is to start with what you know. Use your own experiences as catalysts to spring off into new worlds. I always ask myself “What if?” As an example: What if I was walking down the street one day, feeling sad or even happy, when THIS CRAZY thing happened that causes my world to turn upside down? Later I will post other interviews from AnimationSource.

[alaskaphotoadventures]

Tailored Tours for Seniors to Experience the Wonders of the Last Frontier

Are you retired and ready to embark on an exciting journey? Alaska, known for its breathtaking landscapes, rich history, and diverse wildlife, is the perfect destination for senior travelers. Whether you're seeking adventure or relaxation, Alaska offers a unique travel experience that caters to all ages. Senior-focused tours ensure a comfortable and safe exploration of this beautiful region, making it an ideal choice for your next vacation.

Alaska’s stunning vistas, warm-hearted locals, and a wide array of activities promise an unforgettable experience. Whether you're traveling solo, with a partner, or in a group, Alaska’s captivating landscapes and senior-friendly tours are ready to welcome you. Start planning your Alaskan adventure today and immerse yourself in the enchanting allure of the Last Frontier.

Scenic Train Journeys

Alaska Railroad: Enjoy a luxurious and comfortable journey on the Alaska Railroad, which offers scenic routes from Anchorage to Fairbanks, Seward, and beyond. Marvel at panoramic views of Denali, glacier-fed rivers, and lush forests from the comfort of your seat. Trains are equipped with spacious seating and accessible restrooms, ensuring a comfortable ride for all.

White Pass & Yukon Route Railway: Step back in time with a historic train journey from Skagway to the Yukon border. Relive the Gold Rush era while taking in spectacular mountain vistas, trestle bridges, and historical commentary. With comfortable seating and accessible boarding options, this is an excellent choice for seniors.

Cruise Tours

Alaskan Cruises: Explore the Inside Passage or Gulf of Alaska with major cruise lines like Princess, Holland America, and Norwegian. Enjoy Glacier Bay National Park, whale watching, and visits to charming coastal towns. Modern ships offer accessible cabins, dining areas, and activities tailored for senior passengers.

Small Ship Cruises: For a more intimate experience, choose a small ship cruise that can navigate narrower passages and visit less-visited ports. Enjoy close-up wildlife encounters, kayaking, and guided shore excursions. Smaller ships often provide personalized service and easier access to activities.

Guided Land Tours

Denali National Park Tours: Discover the wonders of Denali National Park with guided bus tours that take you deep into the park’s wilderness. Witness wildlife such as bears, moose, and caribou, and enjoy breathtaking landscapes and views of North America’s highest peak. Tour buses are equipped with large windows, comfortable seating, and accessible facilities.

Kenai Fjords National Park Tours: Explore the dramatic coastline and marine life of Kenai Fjords National Park with boat tours departing from Seward. Highlights include glaciers, whales, sea lions, and puffins. Many tour boats offer indoor seating, accessible restrooms, and wheelchair access, ensuring a comfortable experience.

Cultural and Historical Tours Anchorage Museum: Delve into Alaska’s rich history and culture at the Anchorage Museum, featuring exhibits on indigenous cultures, natural history, and art. Enjoy interactive exhibits, guided tours, and special programs designed for seniors.

Sitka National Historical Park: Learn about Alaska’s Native heritage and Russian history at Sitka National Historical Park. Highlights include totem poles, cultural demonstrations, and scenic walking trails. The paved pathways and accessible visitor centers make this an easy and educational stop.

Travel Tips for Seniors in Alaska Preparation is Key: Secure your tour spots and accommodations ahead of time, especially during peak season. Look for senior discounts to save on costs. Smart Packing: Alaska's weather can be unpredictable, so pack layered clothing, comfortable footwear, and essential medications or health supplies. Stay Healthy: Keep hydrated and take regular breaks to ensure a pleasant and healthy trip. Insurance Matters: Choose a travel insurance plan that provides comprehensive coverage for medical emergencies and unforeseen travel changes. Check Accessibility: Confirm that your tours offer accessibility options that meet your needs, including transportation, lodging, and activities.

Conclusion: Alaska is a treasure trove of activities tailored to the preferences and needs of senior travelers. With picturesque train rides, serene cruises, wildlife viewing, and cultural tours, there is something for everyone. Contact Alaska Photo Adventures LLC, a fantastic tour company that specializes in senior tours, to explore Alaska's splendors at a leisurely pace. Their comprehensive packages ensure a worry-free vacation with all the comforts and safety you need. Embark on your Alaskan adventure today and create memories that will last a lifetime.

[xasha777]

In the year 2142, fashion had transcended the boundaries of mere aesthetics, becoming a fusion of technology, art, and identity. The streets of New York City were alive with vibrant colors and futuristic designs, a testament to the era's cutting-edge advancements. Among the bustling crowd, one figure stood out—a woman of striking elegance and an air of mystery. Her name was Elara Drake, a renowned fashion icon and the face of the latest tech-infused couture.

Elara's attire was a marvel of innovation, a seamless blend of high fashion and advanced technology. Her jacket, adorned with intricate patterns and vivid hues, was made of a fabric embedded with nanotechnology. It could change colors and patterns with a thought, reflecting her mood or the environment around her. Her wide-brimmed hat, a nod to classic elegance, was fitted with a holo-interface, allowing her to access data and communicate with a simple tap.

As Elara strolled down the iconic avenues of Manhattan, the Empire State Building towering in the background, she was not just a fashion statement but a living canvas of technological prowess. But her journey this day was not solely for the admiration of onlookers or the flashing cameras of paparazzi. She had a mission that transcended fashion—one that would take her far from the glitzy streets of New York to the untamed wilderness of the New Guinea Highlands.

Elara had been recruited by a secretive organization known as the Temporal Conservation Society (TCS). The TCS was dedicated to preserving the history and culture of Earth's most remote regions, which were at risk due to rapid technological advancements and environmental changes. New Guinea Highlands, with its rich biodiversity and unique cultural heritage, was their latest focus.

As she navigated the urban jungle, Elara's thoughts drifted to the mission ahead. The Highlands were home to tribes whose way of life had remained unchanged for centuries. But now, they faced threats from illegal mining operations and climate change. The TCS had discovered an ancient artifact—a relic believed to hold the key to sustaining the delicate balance of the region's ecosystem. Elara's task was to retrieve it.

Later that night, under the cover of darkness, Elara boarded a sleek, unmarked aircraft. The journey to New Guinea was swift, thanks to advanced propulsion systems that defied conventional travel times. Upon arrival, she was met by a local guide, Kiri, a member of the Huli tribe, known for their striking face paint and elaborate wigs.

Kiri led Elara through the dense rainforest, their path illuminated by bioluminescent plants that glowed softly in the night. As they approached the heart of the Highlands, the ancient traditions and natural beauty of the land became evident. The Huli tribe welcomed Elara with a blend of curiosity and reverence, aware of the significance of her mission.

The artifact, a beautifully carved totem, was said to be hidden in a sacred cave deep within the mountains. Legends spoke of its power to communicate with the spirits of the forest, ensuring the prosperity and protection of the land. With Kiri's help, Elara navigated the treacherous terrain, using her attire's advanced capabilities to scan for hidden passages and detect potential threats.

As they entered the cave, a sense of awe washed over Elara. The walls were adorned with ancient paintings, telling the story of the Huli ancestors and their bond with the land. At the center of the cavern, bathed in a shaft of ethereal light, stood the totem. Elara approached it with reverence, activating her suit's interface to carefully analyze and preserve its intricate details.

Suddenly, the ground trembled, and the air grew thick with tension. The illegal mining operations had triggered an unstable fault line, threatening to collapse the cave. With quick thinking, Elara used her suit's capabilities to project a protective barrier, shielding herself and Kiri as they made their escape.

Back in the safety of the village, Elara presented the totem to the Huli elders. They performed a sacred ritual, reactivating its ancient power. The artifact glowed with an otherworldly light, resonating with the surrounding nature. The balance was restored, and the immediate threat to the Highlands was averted.

Elara returned to New York, her mission a success. She had not only preserved a crucial piece of history but had also forged a deep connection with a culture that valued harmony with nature. Her journey was a reminder that true elegance lay not just in what one wore, but in the actions one took to protect and cherish the world.

As she walked the familiar streets of Manhattan, her attire shifting to reflect the vibrant energy of the city, Elara knew that her work with the TCS was far from over. The future held many more adventures, each one an opportunity to blend the worlds of fashion, technology, and preservation in ways that had never been imagined.

[native-blog-deutsch]

Der Weg zur Heilung: Die Macht der Stammesgemeinschaften

Ein Kommentar von Levi Rickert: Im Sommer 2021, einen Monat nachdem die Welt durch die Entdeckung von 215 Überresten unschuldiger Schulkinder in der Kamloops Industrial Residential School in British Columbia wachgerüttelt wurde, nahm ich an einer Gemeinschaftsveranstaltung in meiner Heimatstadt Grand Rapids, Michigan, teil. Die vierstündige Veranstaltung umfasste ein Potluck-Dinner, Jingle-Dress-Tanz und einen Gesprächskreis. Der Gesprächskreis war geprägt von ehrlichen Gesprächen und Tränen. Eine junge Frau erzählte, wie sie einen Nachmittag mit trockenen Bienenstöcken verbrachte, weil sie so bestürzt darüber war, dass unschuldige Kinder der Ureinwohner beim Besuch der Schule in Kamloops starben. Das Wichtigste, was ich von dieser Veranstaltung mitnehmen konnte, war, dass eine neue Generation junger amerikanischer Ureinwohner die Wahrheiten über indianische Internate entdeckte, die wir älteren Ureinwohner bereits seit Jahrzehnten kannten. Als Journalistin der amerikanischen Ureinwohner fällt es mir manchmal schwer, über Dinge zu berichten, die ich an der Seite meiner Stammesgemeinschaft erlebe. Als Potawatomi teile ich den Schmerz und den Kummer. Das war auch an diesem Tag im Jahr 2021 der Fall. Damals habe ich nicht über das Ereignis berichtet. Das konnte ich nicht. Dieses Ereignis fand ein ganzes Jahr vor dem Beginn der Road to Healing-Tour des US-Innenministeriums statt, die im Juli 2022 in Anadarko, Oklahoma, begann. Seitdem fanden 11 Road to Healing-Zuhörsitzungen statt, darunter auch eine gestern in Albuquerque, New Mexico. Bei allen Road to Healing-Sitzungen haben die Ältesten der Ureinwohner über ihre Erfahrungen während des Besuchs von Indianer-Internaten berichtet, darunter auch über Fälle von körperlichem, emotionalem und sexuellem Missbrauch. Ich bin immer wieder erstaunt über die unverblümte Offenheit derjenigen, die bei diesen Anhörungen mündlich Zeugnis ablegen. Die Ältesten erzählen von Grausamkeiten, die sich vor Jahrzehnten ereignet haben, in lebhaften Details, als wären sie erst vor ein oder zwei Wochen geschehen. Es ist, als hätten sie jahrelang ein Tonbandgerät in ihrem Kopf abgespielt und dürften nun endlich die Play-Taste drücken und die Lautstärke aufdrehen. Oft werden die Zeugnisse von den Ältesten vorgetragen, die sichtlich zittern und denen die Tränen über die Wangen laufen. Bei der Veranstaltung Road to Healing am Sonntag war der Vorsitzende des Tunica-Biloxi Tribe of Louisana, Marshall Pierite, einer von mehreren anwesenden Stammesführern. "Es war sehr wichtig, die Wahrheit darüber zu erfahren, was in diesen Internaten passiert ist. Ich bin sehr stolz darauf, dass Minister Haaland diese Anhörungen durchführt, denn dadurch wird der Heilungsprozess eingeleitet", sagte Pierite gegenüber Native News Online. Ich habe diese Heilung in Aktion gesehen. Eine Woche zuvor wurde nach einem Tag mit Zeugenaussagen ein heilender Totempfahl auf dem Gelände des Alaska Native Heritage Center aufgestellt. Etwa 500 Alaska-Ureinwohner versammelten sich, um das Aufstellen des heilenden Totempfahls zu beobachten. Das Aufstellen war ein Gemeinschaftsereignis, an dem viele beteiligt waren, darunter Innenministerin Deb Haaland (Laguna Pueblo), die bei der Segnung des Pfahls half, und der stellvertretende Minister Bryan Newland (Bay Mills Indian Community), der beim Tragen des Pfahls half. Dieser heilende Totempfahl wurde von der Haida-Ältesten Norma Jean Dunne (Haida/Tsimshian) entworfen. Er wurde dieses Jahr im Alaska Native Heritage Center von den Haida-Meisterschnitzern Gidaawaan Joe Young und Sgwaayaans T.J. Young geschnitzt. Eine Inschrift für den heilenden Totempfahl lautet: Das heilende Totem stellt eine Bärenmutter dar, die ihre beiden Jungen umklammert, während der Vater (in menschlicher Gestalt) über ihr sitzt, eingebettet in einen Rabenschwanz. Über ihm befindet sich der Rabe mitten in der Verwandlung, an einem Ort zwischen der menschlichen und der Rabenform. Zwei Kinder ruhen bequem in Rabenohren. Das Aufstellen des heilenden Totempfahls war Teil einer langen Veranstaltung, die mit Gesang, Tanz und einer kulturellen Zeremonie verbunden war. Der Totempfahl wurde schließlich kurz vor Sonnenuntergang im Gedenken an die Tausenden von Opfern indianischer Internate aufgestellt. Es ist der einzige Totempfahl, der in den Vereinigten Staaten für die Opfer indianischer Internate aufgestellt wurde. Es war ein beeindruckendes Erlebnis, die große Menschenmenge zu sehen, die den Opfern indianischer Internate gedachte. Unmittelbar nach dem Aufstellen des Totempfahls wurde ich zum Flughafen gebracht, um mit einem roten Flieger nach Hause zu fliegen. Ich verließ Anchorage mit neuer Hoffnung auf Heilung, denn der Totempfahl war ein Symbol dafür, dass Heilung für unsere Stammesgemeinschaften, die so lange gelitten haben, möglich ist. Der Totempfahl ist ein dauerhaftes Symbol. Aber es ist die Kraft der Stammesgemeinschaft, die zusammenkommt, die mir für immer in Erinnerung bleiben wird. Wir wissen, dass Heilung eine Reise ist, die ein Leben lang dauern kann. Sie kann auf verschiedene Weise erfolgen: durch das Eingestehen vergangener Schmerzen, durch psychologische Beratung, durch Gebete an hohe Mächte und, was vielleicht am wichtigsten ist, durch das Zusammenkommen von Stammesgemeinschaften. Gemeinschaft ist alles für die Ureinwohner. Wir dürfen nie vergessen, dass es Kraft gibt, wenn wir im Geiste der Einheit zusammenkommen. Thayék gde nwéndëmen - Wir sind alle miteinander verbunden. Originalartikel Read the full article

[communityinclusion]

My Journey in Alaska: Its Beauty and Natural, Breathtaking Landscapes

Clara S. Muchunguzi is a 2023 Fellow in the Professional Fellows Program on Inclusive Civic Engagement. This program is sponsored by the U.S. Department of State’s Bureau of Educational and Cultural Affairs and is administered by the Institute for Community Inclusion (ICI) at the University of Massachusetts Boston in partnership with Humanity and Inclusion (HI). The following blog post was written by guest author Clara S. Muchunguzi.

This long-awaited journey started on May 3, 2023 when I landed in Boston and received a warm welcome from Heike and Christa, our very own PFP team leads who have been very supportive and made sure this was a dream-come-true trip. May 4 was a brand-new day, and, despite the jetlag, I got an opportunity to wander around Boston. I visited the very old, legendary, and iconic university of ancient times — Harvard University, which is still rocking and a dreamed university of many, including myself. It was mesmerizing to learn the fairytale of John Harvard’s monument: that when you touch his foot, it brings good luck. I had to try mine. Who knows? I may get my PhD there, or my son, Jayden, may go to school there, so fingers crossed. It was so enticing, and I wish I had more days in Boston.

When I learned that I was going to Alaska, I had so many questions. I had barely heard of Alaska, and I had so many thoughts about what I would see there. Surprisingly, I had a wonderful four weeks of exploring, learning, and fantasizing in Anchorage, Alaska. Seeing the natural beauty of Alaska and its breathtaking landscapes brought some dazzling feelings. I am grateful for my host, Jessica Harvill, who welcomed me to her beautiful home and took me to view the beauty of the well-arranged Chugach Mountains of Alaska that were decorated with snow. I met noble people from the University of Alaska Center for Human Development and connected with brethren from different organizations. I learned their ways of life and the work they do in bringing meaning to life and to people that need special attention.

Clara (left) wood polishing materials to be used in artwork design at Hope Studio, an organization that works with people with disability.

Wildlife Encounter at the Alaska Zoo

I was mesmerized by the renowned, diverse wildlife I encountered at the Alaska Zoo, a lifesaving place for orphaned and injured wildlife animals with its own unique history. I had unforgettable moments at the zoo as I witnessed moose and the majestic moves of the giant bears in their different colors — black, brown, and white. I had such a pleasant feeling seeing the bald eagles — magnificent birds, well-known scavengers, and predators, crafted in unique color in their heads and tails — so admired for their beauty. The eagles are found in Alaska more than any other part of America and carry a spiritual symbol for the Alaskan natives that makes them very special.

Clara stands outside the big cat exhibit at the Alaska Zoo

Cultural Immersion

I have learned many good things about the Alaskan indigenous heritage. I visited the Alaskan Native Heritage Center and learned about Alaskan cultures, architecture, traditional lands and languages, and creative arts, ranging from carving, basket weaving, and sewing to silver smiting. Amazing works represent Alaskan natives, including the underground houses they used to stay in and the equipment they used for hunting and fishing. I got to know the five native tribes: Athabascans, Inupiaqs, Yupiks, Aleuts, and the Northwest Coast Indians. I was so thrilled with my visit to Alaska, and I will definitely visit Alaska again and again.

Clara at the Alaskan Native Heritage Center, standing beside a totem for one of the Alaskan Native society

[kevlo75]

The Trade Palace, the legendary trunk of industrial tanners heading to #indies ? This monumental 12000 m² building in the heart of Rennes city center is an illustration of this. Entrusted to the architects Jean-Baptiste Martenot and Emmanuel Le Ray, this lighthouse-totem (of the Indies?) is above all the political work of mayor and senator Edgar Le Bastard (1871-1892), at a time when the leather industry and very prosperous master tanners in India experienced a golden age in #rennes . Having become an important industrialist in the city in this sector, Edgar Le Bastard was president of the Chamber of Commerce of Rennes. During his tenure, he worked extensively on the development of education in the city, including the university. In addition, Orientalism had a strong impact on the heritage of the city of Rennes during his term of office, in particular the old racecourse in the Parc des Gayeulles. A well-known counter in the leather trade, #pondichery , a French possession which joined the Indian Union in 1954, still maintains links with Rennes, on an academic level. The University of Rennes is developing cooperation with the University of Pondicherry. The Rennes university press published an essay by Kevin Le Doudic: “The French in Pondicherry in the 18th century: a society redrawn by its material culture“. (à Place de la République (Rennes)) https://www.instagram.com/p/CoZjaITLZLg/?igshid=NGJjMDIxMWI=

[stirdrawsandreblaws]

omg psykarion has the coolest name, PLEASE tell me about them

!!! :D Psykarion is one of my ttrpg characters; the game is Werewolf: the Apocalypse, but in a historical setting (specifically centered in Roman-occupied Britannia during the Hadrian era 130 CE). Psykarion is a mokolé, which is basically a were-lizard/dragon. The mokole are basically living cloud servers because they have access to Mnesis, which is a combination of the memories of every other mokole that ever lived, as well as the "memory" of old places with high spiritual impact, which is how he is a 20 year old that also basically lived through the sacking of Carthage. Lots of emotional issues from that and other things, haha

His name means "little breath" or "little soul" in Greek. He has several aliases though, and spends a lot of time crossdressing and changing identities while traveling from place to place. One of the (now-dead) npcs called him a word that basically meant gender-witch lmao, and he loved it, much to her dismay

I've posted art of him before in my draws tag but fuck it here's a comp of Game Doodles i did ages ago

I can't go into too much detail about his past because some of the other players might see his Backstory Secrets but: he is a freedman who used to be an actor, and believes he might be the last were-dragon left in the world after the Wars of Rage (basically the werewolves attempted genocide of all the other shapeshifters and succeeded at wiping out a few, like were-bats)

So he's been searching for others like him to confirm whether or not that's true; for a while he would shift into his suchid form (which is a long-extinct Greek monitor lizard, abt 3 ft long, unlike his 20ft archid "were-dragon" form which is actually still smallish for a mokolé) and hide in semi-hibernation amid boat cargo to avoid paying for transport, but he got discovered after leaving Gaul while in Lizard Torpor and was captured by these dudes who thought he was a land crocodile and tried to sell him as a cure for blindness (he went along with this because hey free travel and food, even if it's just raw rats and eggs or whatever, and he could go unnoticed by other turnskins...though that does mean he had his eyes gouged out a few times, he healed, which just cemented their belief in his value and got him better food for a while...which he decided was worth it, oof). So yeah. This was fine until he found out these new people who were buying him outright were werewolves planning to burn him alive in the hopes of restoring sight to a metis werewolf baby (that was born blind) for Sacrificial Curse reasons

Which means he was already plotting his escape when he overheard the other player characters investigating, and recognized the voice of someone he knew from his acting days (another actor named Pallas)...then escaped and went to find him and beg him for help before the horrible british winter killed his cold-blooded and mediterranean-born ass lmao

Which he got, after an interrogation by their kindly pack-totem, Mammoth (and oh how he wept for joy at that meeting!! Both of these creatures who have witnessed ages long past, now alone in a world moving on without them, but trying to endure all the same...!!!) Then he ended up going with these werewolves and their were-raven packmate (that he affectionately refers to as sun-sister) to stop the curse... and also to escape all the other werewolves who decided they were honor-bound to kill and dissect him lol. They managed to save the metis baby (though it still probably won't have a good end) and escaped to Cyrenaica because he was able to help their totem make a moon-bridge there via mnesis.

He and Pallas had a sort of weird mutual obsession at the time they met, and it turns out they still do, though their relationship is pretty fraught now since he found out Pallas is a Fancy Boy werewolf (high-purebreed silver fang, though he rejected his heritage and got cut the fuck up as a result)

Every other pic ive drawn of them together is a violation of tumblr tos so:

He's also short and full of rage, which means he fits right in with the werewolves for the most part, and that galls him a little. Still, they saved his life, and he theirs, and despite everything he sorta loves them all...

Alas he's going to say goodbye soon, and live basically a hermit life in what remains of the garden of the hesperides (which in our game is an ancient mokole wallow), and sometimes work with a small pack of sympathetic werewolves and a were-lion in Cyrene...also probably trying to hunt down kinfolk to breed more mokole with lol

Gonna just end this with more old shitpost doodles:

I love a him

[nazaninlankarani]

A 20-Year Legacy of Support for French Artists

A show at the Pompidou Center highlights the work of Kapwani Kiwanga, winner of the Marcel Duchamp Prize, and those who won before her.

Kapwani Kiwanga’s “Flowers for Africa” is a series of installations that consist of elaborately arranged fresh flowers. © Dmitry Kostyukov for The New York Times

PARIS — The conceptual artist Kapwani Kiwanga, whose latest exhibition here recreates elaborate floral arrangements from archival photographs to capture a moment in time, was awarded the Prix Marcel Duchamp on Monday in a celebration that also marked the 20th anniversary of the prize.

The award, viewed as France’s answer to Britain’s Turner Prize, is named after one of France’s most influential 20th-century artists and is given to an artist born or working in France. Ms. Kiwanga, a native of Canada, works in Paris.

The winner was announced by Bernard Blistène, director of the Musée National d’Art Moderne at the Pompidou Center.

“At a time of rising nationalism around the world, it is important to emphasize that this is not a ‘nationalistic’ prize, but the recognition of an international artist who is part of the French art scene,” said Mr. Blistène, who also presides over the seven-person jury. Members include Gitte Orskou, director of the Moderna Museet in Stockholm, and Marie-Cécile Zinsou, president of the Zinsou Foundation in Benin, in West Africa.

The award ceremony at the museum went ahead despite the pandemic that forced the cancellation of the annual International Contemporary Art Fair, or FIAC. The fair, which would have opened on Thursday, is usually the focal point of a buoyant week of art-filled events in the French capital. This year, the ceremony was held against a background of global travel restrictions compounded by a local nighttime curfew in place in Paris.

“It isn’t because we are going through a terrible period that this public institution should not stand for hope for the future,” Mr. Blistène said.

After studying anthropology and comparative religion at McGill University in Montreal, Ms. Kiwanga attended the École des Beaux-Arts in Paris. © Manuel Braun

With the prize Ms. Kiwanga was awarded 35,000 euros (about $41,000). The other nominees were Alice Anderson, Hicham Berrada and Enrique Ramírez, selected by a committee of the Association for the International Diffusion of French Art, a group of about 400 art collectors that created the prize.

The appropriation of history is the subject of “Flowers for Africa,” a series of installations by Ms. Kiwanga that consist of elaborately arranged fresh flowers, suspended as a garland from the ceiling or set in bouquets on pedestals. Each is a “reconstruction” of a floral arrangement the artist has gleaned from an archival photograph of an official ceremony marking the independence of an African country.

“The flowers wilt and dry over time and must be replaced according to a protocol,” said Ms. Kiwanga, who is 42. “They capture a moment in history.”

Sophie Duplaix, the chief curator at the Pompidou Center, where works by the nominees will be displayed through early January, said that “all four artists have touched on the notion of time and its impact on the individual and society.”

“That common thread helped us bring harmony to a show that we hope will resonate with the public, especially in a period when we are all reconsidering our own relationship with time,” she said.

In “Flowers for Africa,” Ms. Kiwanga examines that connection by confronting history and botany. History is retold through the life cycle of flowers left to wilt for the duration of the exhibition. Her reconstruction of ceremonial bouquets underscores the shortcomings of capturing history.

“The project was born out of my own frustration at looking at images that seemed always to depict political leaders present at independence ceremonies,” she said. “I wanted to look beyond those central figures and focus on the flower arrangements, which were witnesses on the sidelines of those historical events.”

After studying anthropology and comparative religion at McGill University in Montreal, Ms. Kiwanga attended the École des Beaux-Arts in Paris.

Hicham Berrada’s “Présage, SiO2” is a 12-minute video showing the reaction that occurs when he pours silicon dioxide to activate a controlled chemical reaction in a glass tank filled with a mixture of acid and water. © By Dmitry Kostyukov For The New York Times

This year is also the 20th anniversary of the Duchamp prize, and to mark this milestone, a six-month exhibition at the museum honors previous winners.

“I believe in French art for its spirit, its elegance and its joie de vivre,” said Gilles Fuchs, a collector and president of the association.

“This prize recognizes an artist whose innovative practice is representative of a generation and reflects the creativity of the French art scene,” he added. “The 20th-anniversary show is evidence of our continued support of the artists.”

Mr. Blistène said the award “is not driven by ‘market’ interests.” He added that the association collectors “are not motivated by commercial interests nor by mundane or ‘domestic’ considerations like whether they can hang the art in their living rooms.” Among the other nominees, Mr. Berrada’s artistic practice sits at the junction of science and nature. His installation, “Présage, SiO2,” is a 12-minute video showing the reaction that occurs when he pours silicon dioxide, a component used in making concrete, to activate a controlled chemical reaction in a glass tank filled with a mixture of acid and water. A mesmerizing landscape of moving shapes is captured in the video, projected onto a large screen. Mr. Berrada, 34, a native of Morocco, lives and works in Paris and Roubaix, in northern France.

Alice Anderson’s work is made up of drawings, dance movements and totemic sculptures constructed from everyday objects wrapped in copper thread. © Dmitry Kostyukov for The New York Times

The French-born Alice Anderson, 47, reflects on memory in a presentation made up of drawings, dance movements and totemic sculptures constructed from “recorded” everyday objects — like a computer mouse or a mobile phone — wrapped in copper thread, that connect man to technology.

“Technology is driving a change of civilization,” Ms. Anderson said. “These objects are mummified to be preserved.”

On a wall in the space dedicated to Mr. Ramírez, 41, a Chilean multimedia artist who lives and works in Paris and Santiago, are the words: “The future always repeats itself inseparable from the past.” The sentiment ties together several pieces that touch on issues of migration and history.

At the center, a video depicts a man entangled in the twisted fabric of a sail floating in the sea, in what could be interpreted as either a slow struggle for survival or a metaphor for a return to the fetal state inside a womb.

“The sea and the sail evoke both freedom and failure,” Mr. Ramírez said. “My work is less about politics and more about poetry.”

Enrique Ramírez’s work at the Pompidou Center includes a video of a man entangled in the twisted fabric of a sail floating in the sea. © Dmitry Kostyukov for The New York Times

Mr. Fuchs said the ADIAF (it is referred to with its French abbreviation) was founded in 1994 to promote the nation’s art. At the time, French artists were at a low point, their work was being purchased only by the state, and there were few private French art collections.

“Matisse had not been dead very long, yet the French art scene was completed discredited to the point that some even referred to Marcel Duchamp as an American painter,” Mr. Fuchs said.

“But thanks to the support of the Centre Pompidou from Day 1 and our own efforts, this prize has gained the prestige it has today,” he said.

The prize is less a launchpad for young artists than a spotlight on a body of work by more established names like Kader Attia, the 2016 winner, who went on to receive both the Joan Miró Prize and the Yanghyun Prize the next year. For many past winners, the prize has been a genuine boost to their careers, particularly thanks to the three-month show at the Pompidou.

“All prizes and encouragements are welcome in the life of an artist,” Thomas Hirschhorn, a Swiss artist who was awarded the first prize, wrote in a statement to the French press ahead of this year’s announcement.

“As an artist, I need my work to be shown, talked about and critiqued,” he wrote. “What is concrete about this prize and what really mattered to me were the prize money, the funding I received from ADIAF for a new piece, and my show at the Centre Pompidou.”

Laurent Grasso, a French multimedia artist who won in 2008, noted the attention the prize brought him. “Some 45,000 visitors came to my show at the museum,” he said. “This prize generates a lot of positive energy around the work of an artist.”

Upstairs, in the main galleries of the museum, works by all 19 past winners are displayed among pieces from the museum’s permanent collections.

“The dialogue with our historical pieces shows how more recent works fit into an ongoing artistic tradition,” said Nicolas Liucci-Goutnikov, the curator of the show.

“Some people consider contemporary artists to be engaged in a perpetual reinvention of art,” Mr. Liucci-Goutnikov said. “But this show demonstrates that art is a heritage being constantly renewed.”

[Source]

[theliberaltony]

via Politics – FiveThirtyEight

NASCAR is niche. A recent Morning Consult survey of the sport’s fans found that they’re much more male, white and Southern than other sports fans are. It’s a subculture status that some fans have relished but which NASCAR itself seems eager to shake — in the last two years, its TV ratings bottomed out after peaking in the mid-2000s, according to SportsBusiness Journal. They’ve declined for six years running, in fact. Since the mid-aughts, the sport has actively sought to expand its fan base — seeking race venues outside the South, for example — and in doing so, sometimes drawing the ire of its core fans. “We believe strongly that the old Southeastern redneck heritage that we had is no longer in existence. But we also realize that there’s going to have to be an effort on our part to convince others to understand that,” then-NASCAR President Mike Helton said in 2006.

Like so many institutions in American life, the sport was grappling with what its place would be in a more diverse county and culture.

So when the NASCAR Cup Series’ only Black driver, Bubba Wallace, called for a ban of the Confederate flag earlier this summer, saying “No one should feel uncomfortable when they come to a NASCAR race,” NASCAR readily complied. It had already formally asked fans to stop bringing the flags to events in 2015 following the murders of nine Black churchgoers in Charleston, S.C., by a white supremacist. President Trump weighed in on NASCAR’s decision, tweeting that its flag ban was to blame for its “lowest ratings EVER!” (ratings are actually up following the flag ban).

But according to the Morning Consult survey from June, 44 percent of NASCAR fans agree with the president and said that fans should be allowed to bring the flag to races. Only 30 percent were fine with the ban. And at NASCAR races in June and July, Confederate flags reappeared. Not in the stands, but high above them; a group called the Sons of Confederate Veterans rented planes to fly the flag over the racetracks. The group’s leader, Paul Gramling Jr., told the Columbia Daily Herald that “The Sons of Confederate Veterans is proud of the diversity of the Confederate military and our modern Southland. We believe NASCAR’s slandering of our Southern heritage only further divides our nation.”

Gramling’s statement about the “diversity” of the Confederate army and his use of the term “modern Southland” speak volumes. Enslaved men were conscripted as soldiers and servants in the Confederate Army — they were hardly volunteers for the Southern cause — and Gramling’s “Southland” conjures the image of a cohesive nation, as if the Confederacy, which existed for less than five years, had not been decimated long ago.

The SCV and NASCAR’s oblique tussling might seem like a fringe issue in an election year when a pandemic and an economic crisis imperil millions of lives, but their divergent visions of what the culture of the American South is — who it’s for and of — embodies much about the political and cultural climate in which we find ourselves. Trump and NASCAR are in similar positions: overly reliant on a slowly shrinking, mostly white base. NASCAR is trying to expand its audience in order to stay relevant; Trump is not. The sport has realized something that the president can’t seem to grasp, which is that overt shows of racism turn most Americans off.

Electoral politics has played a role in normalizing on a national level the kind of neo-Confederate views that the SCV — and Trump — have condoned and promoted in recent weeks. You don’t have to have grown up in the American South to have thought that the Confederate flag was inextricably tied to what the SCV calls “Southern heritage,” but which really means a particular slice of Southern white culture. Going back decades, blocks of white votes in the South have been courted aggressively by non-Southerners who have played to the culture that has grown around these symbols and a particular nostalgic language about the Confederate past. During his 1980 presidential campaign, Ronald Reagan, a California governor of Illinois birth, appeared in Neshoba County, Mississippi — where Freedom Rider activists were famously murdered in 1964 — and gave a speech about “states’ rights,” which was read by many as euphemistic in the most loaded way possible, given the context of the place. The country had gotten comfortable with delicate work-arounds like that — the Civil War wasn’t about slavery, it was about states’ rights. For decades, parts of the country have tolerated a semantic category that blandly normalized a strain of white resentment at the Confederate defeat. Sometimes the language is more blunt, of course: the War of Northern Aggression, “the South will rise again” or “It’s only halftime.”

According to the 2010 census, 55 percent of the country’s Black population live in the South. While the region is still nearly 60 percent white, its Black and Hispanic populations are significant, and while traditionally rural, diverse, growing cities like Atlanta and Charlotte have become important business hubs. North Carolina’s Research Triangle region boasts the sort of academic power and national draw often associated with the Northeast Corridor’s Ivy League. NASCAR’s bid to diversify, geographically and otherwise, is in keeping with the modern South’s changes.

But strong vestiges of the racist Confederacy have held on in the region. Mississippi removed the Confederate stars and bars from its state flag only last month, becoming the last state in the Union to do so. While the majority of Americans — 52 percent — favored the removal of Confederate statues from public spaces, according to a Quinnipiac University survey from June, 52 percent of those from the South opposed removal, the only region of the country where a majority supported keeping the statues.

In the midst of a floundering campaign, Trump grasped onto Southern white culture — that particular strain of it — as a way to pull his head above water. A large base of his support does indeed lie in the South, as has been the case for all recent Republican presidential candidates; Bill Clinton won Arkansas, Louisiana, Kentucky, Tennessee and West Virginia in 1996, but no Democrat has since. Trump ran a race-baiting campaign in 2016, and his 2020 campaign has continued to play on long-standing tropes of racial fear, like violent “liberal Democrat” cities. Ironically, his use of federal law enforcement officers in Portland, Ore., is about as far from states’ rights as you can get.

But Trump seems to be speaking to the SCV types and not the more “mainstream” white voters he actually needs to win. The SCV, for what it’s worth, is more than the “historical, patriotic, and non-political organization” that its website says it is. Its branches have donated to Republican politicians and it controversially purchased the Silent Sam Confederate statue that was torn down at the University of North Carolina at Chapel Hill. In other words, the group is representative of the types of (white) voters who are Trump’s ride-or-dies.

But Trump has misjudged — or refuses to see — that much of white America is changing how it thinks about racial issues. A Monmouth University survey from June found that 49 percent of white Americans thought police were more likely to use excessive force against a Black person, up from only 25 percent in 2016. A Morning Consult poll from May and June of this year found that 49 percent of white Americans supported the protests unfolding across the country, and 54 percent of suburbanites supported them (white people are the majority in 90 percent of America’s suburban counties, according to Pew Research Center).

Someone seems to have leaned into Trump’s ear and told him he needs these white suburbanites in order to have a fighting chance of winning in November. Last week, he called on “The Suburban Housewives of America” — as if harkening to a membership organization from 1955 — and said that presumptive Democratic nominee Joe Biden would “destroy” their American dream by promoting affordable housing for all in the suburbs. In Trump’s framing, by hoping to diversify the suburbs, Biden would destroy the “Suburban Lifestyle Dream.” A majority of Americans in a Pew survey conducted in 2019 said Trump had made race relations in the country worse, and while white, Black and Hispanic people still differ in their views on racial issues, it’s clear that recent events have brought greater racial awareness to the forefront of white Americans’ minds.

Republicans are increasingly worried about Trump losing a state like Ohio — once thought solidly in Trump’s camp — in large part because of the president’s diminishing support in suburban areas. (I wrote at length about this Ohio suburban phenomenon back in 2019.) His embrace of the racist totems of the white South — which large swaths of the white South itself eschews — could now potentially cost Trump with the Midwestern or Northeastern (whatever you want to call Pennsylvania) voters he needs to hold onto in order to win.

Trump, a New York City-born pol who doesn’t quite seem to “get” the ‘burbs — and has never been a particularly subtle political thinker or communicator — crucially misunderstood that the muscular Southern racism the Confederate flag has long represented doesn’t work in the white suburban realms of respectability anymore. That cohort — Republican and Democratic — absorbs and displays its biases more mutedly in 2020. Trump, who came to political power riding a wave of racist conspiracy theory — it was only fair to ask questions about whether the first Black president was actually American, wasn’t it? — now suddenly seems ill-equipped for the political times.

He forgot that most of the country requires a modicum of plausible deniability in its dog whistles.

[sweeterplacerp]

happy sunday! were happy to finally hand over the neighborhoods to use guys! in this post you’ll find all the neighborhoods we’ve named in seattle. keep an eye out for the next post to find out about the port southerby neighborhoods!

capital hill 

CAPITOL HILL sits northeast of downtown is the historical hub of lgbtq+ culture. a vibrant and urban neighborhood that had once been imagined as the capital of the state and holds many buildings that had once meant for politicians. CAPITOL HILL is known for its vibrant nightlife, art and music, the neighborhood is known for hosting the annual capitol hill block party in late july, an outdoor festival that lights up its major streets. CAPITOL HILL is also home to volunteer park, which has a conservatory and art museum, and the lake view cemetery, where the founders (and bruce lee) are buried. AVERAGE RENT: $2,070 MEDIAN SALE PRICE: $567,500

ballard 

BALLARD is a former city which had been annexed by seattle in 1907, and is located in the northwest end of seattle. BALLARD is a hip waterfront neighborhood with trendy restaurants, indie shops, bars and craft breweries centered on historic ballard avenue. Ships and salmon pass through the hiram m. chittenden locks, or ballard locks, also a popular picnic spot. the sandy beach at golden gardens park draws sunbathers and volleyball players and offers mountain views. the nordic heritage museum displays the area’s scandinavian roots. AVERAGE RENT: $2,174 MEDIAN SALE PRICE: $769,000

queen anne 

steep QUEEN ANNE hill has a mix of commercial hubs and residential streets. attraction-rich seattle center, in lower QUEEN ANNE, hosts cultural festivals. it's also home to the iconic space needle, with its observation deck, plus the museum of pop culture and chihuly garden and glass. upper queen anne is known for 19th-century homes and QUEEN ANNE avenue’s stylish shops and cafes. kerry park has sweeping city views. AVERAGE RENT: $2,371 MEDIAN SALE PRICE: $869,500

west seattle 

WEST SEATTLE is a laid-back residential area. the sandy strip of alki beach is popular with volleyball players, kayakers and sunbathers, while its coastal path has views of puget sound and the seattle skyline. west seattle junction is the area’s commercial heart, with casual eateries, coffeehouses and funky shops. lincoln park has walking and biking trails on a bluff above the sound, plus a heated saltwater pool. AVERAGE RENT: $1,832 MEDIAN SALE PRICE: $592,599

downtown seattle 

DOWNTOWN SEATTLE is a major business and retail center, set against the gorgeous backdrop of the puget sound and waterfront activity. urban parks and plazas are surrounded by a manmade forest of high-rise architecture with some older buildings mixed in. further west is the famous pike place market. dotted in between are a myriad of small and charming bars and restaurants, as well as an assortment of larger establishments and well-known retail outlets. AVERAGE RENT: $2,448 MEDIAN SALE PRICE: $824,205

university district 

the UNIVERSITY DISTRICT is home to the leafy campus of the university of washington. the UNIVERSITY DISTRICT is an eclectic mix of urban shopping areas; historic homes and architecture; and great cafes, pubs, restaurants, and theaters. the “u district” has a youthful and relaxed feel with lots of dining and shopping deals to take advantage of. the students who can often be found kayaking on lake union or portage bay, biking the burke-gilman trail or catching a football game at husky stadium, known for its unique tailgating parties. AVERAGE RENT: $1,700 MEDIAN SALE PRICE: $793,075

waterfront 

WATERFRONT is the most urbanized portion the elliot bay shore. it was one the hub of seattle's maritime activity, but had been increasingly converted to recreational and retail use since the 1960s. several century-old piers are devoted to shops and restaurants. some docks remain operational including a cruise ship dock, ferry terminals, and a fireboat dock. WATERFRONT is also home to iconic sites such as the seattle great wheel, the seattle aquarium and ye olde curiosity shop. AVERAGE RENT: $2,540 MEDIAN SALE PRICE: $723,591

pioneer square

known as the birthplace of seattle, PIONEER SQAURE is home for art galleries, coffee shops and trendy bars that fill it's late 1800s romanesque revival buildings. PIONEER SQUARE is the place to go to experience seattle's early history. turn-of-the-century street lamps line the square. a tlingit totem pole towers up beside a drinking fountain fitted with a bust of chief seattle and klondike gold rush national historical park are prime examples of that. AVERAGE RENT: $2,127 MEDIAN SALE PRICE: $657,525

[noodledog]

Music for DND classes

This isn’t so much what the classes listen to (which I might make some day) and more music that exemplifies them. I’ve tried my best to not fall into the usual songs for each class cause like.... We don’t need a list of only the LOTR/GOT soundtracks.

Most of this is based off my own experiences with DND but some of it is just working off the wiki pages, oh well! Everyone’s characters are so different, it’s hard to distill a class to so little!

Since there are so many different subclasses (There are 18 for clerics!!!) I’ve decided to split each class into three; Standard (the archetypical figure), Legendary (Those that are more mystical leaning or overall high fantasy, think those who want to fight God vs standard adventurers) and Social (For those big on intrigue, seduction and diplomacy)

Thank you so much to @momnar and @plinzer for helping me find songs.

On to the music!

Barbarian

Standard: Your standard barbarian is a strong, rage fueled berzerker who decimates their foes in battle and probably isn’t the brightest bulb outside of it. As one can expect their music is usually loud, aggressive and bound to get your heart pounding. If they could rip the head off a deity, they would. Most of the time they’ll be played a bit goofy outside of battle.

Example: (X) (X) (X)

Legendary: Totem barbarians are the most magical version of Barbarians in the game (I’m not entirely happy with this whole barbarian/totem connection, but take that up with Wizards of the Coast) They are more connected to nature with animal guides granting them additional strength in battle. They use their righteous anger to protect what is under attack or just at risk of being lost to ‘civilization’. They’re Momma Bears. Their music is more focused on traditional sounds and punk messages. That can be defending the environment, traditions or even people.

Example:  (X) (X) (X) (X)

Social: You want to play a barbarian in an intrigue game? Doesn’t sound like the smartest idea, until you realize that Barbarians may know obscure languages others don’t, and have the intimidating presence of a bull moose. Songs about them are more downplayed, full of the steady, long lasting burn that a grudge can hold.

Example: (X) (X) (X)

Bard

Standard: Bards love to be the center of attention- but maybe not in battle with how squishy they are. As the most musical class, clearly just about any song fits with them, but even better if it’s bragging or insulting another!

Example: (X) (X) (X) (X)

Legendary: These bards will gather together a mob with their voices and insult Gods to their faces. Songs will be sung about them for ages (and they wrote most of them!)

Example: (X) (X) (X) (X)

Social: Social focused bards will tempt and trick others without them even realizing what is happening. They have friends and lovers everywhere, and a quick exit prepared for when something backfires. Their music is usually about getting along or getting into bed.

Example: (X) (X) (X NSFW warning!)

Cleric

Standard: Squishy. Praises God. Is the only one keeping you from dying. Stressed. Somebody save them. Expect spiritual music, and some calls to please get along, for once?

Example: (X) (X) (X)

Legendary: Will drag you right back from the dead so they can slap you. They have the power of god AND anime on their side. They are done with dancing around difficult situations and they WILL get it sorted out.

Example: (X) (X) (X)

Social: I CAST ZONE OF TRUTH! Kindhearted but kind of a one trick pony when it comes to stepping in, and that’s mostly catching others doing the wrong thing and supporting others (emotionally or more often than not, by undoing curses and poisons).

Example: (X) (X) (X)

Druid

Standard: Hermits in the woods, lots of quiet ambient music with sounds of wildlife, or maybe some simple folk tunes than can be played alone with simple instruments. Pretty relaxed. (But we really know you just picked druid to shapeshift)

Example: (X) (X) (X) (X)

Legendary: You're gonna shapeshift into a dragon and nobody can stop you! Oh, and probably control the weather and become the Avatar, but DRAGON!

Example: (X) (X) (X)

Social: Druids are supposed to be hermits, but that never stops players. You're probably performing for the crowds as a dancing bear, or looking elegant by moonlight with a deer. Maybe making friends through 'Magical Herbs'. Think folk and Indie music.

Example: (X) (X)  (X) (X)

Fighter

Standard: Rough and tough fight boys (and girls and others) They hit stuff and they hit it well. Not afraid to get in a scrap and willing to protect their friends. Their music is simple, motivated and perfect to work out to.

Example: (X) (X) (X) (X)

Legendary: They have mastered the art of fighting! Arrows miss their marks, foe's armor is no obstacle, they lead a battle charge with a fearless yell. Punk, heavy metal, or just ol rock and roll is a good baseline to start from musically.

Example: (X) (X) (X) (X)

Social: Elegant fencers, charming folk heroes, a social focused fighter inspires others through their fighting skill. They're less likely to be on a battlefield as they are to be accepting a duel or scrapping in a bar with their friends by their side. Changing minds one fight at a time.

Example: (X) (X) (X) (X)

Monk

Standard: Meditative fighter with the sneaky ability to channel their chi or disrupt another’s. They have complete mastery over their body. Their music reflects their contemplative, inner-looking and martial arts background.

Example: (X) (X) (X)

Legendary: Breaking the speed of sound and paralyzing foes. Pretty much the closest thing to an anime character.

Example: (X) (X) (X)

Social: I haven't met any monks yet that were focused on the social game, they are supposed to be rather focused studious types after all, but the closest were those attempting to promote peace or distract a crowd with a demonstration of their skill. The focus is less on the music and more on the performance with the music.

Example: (X) (X) (X)

Paladin

Standard: Often Lawful Good, the epitome of valorous conduct. Paladins are here to protect and smite with divine blessings on their side.

Example: (X) (X) (X -Vengance paladin, probably evil-aligned)

Legendary: If the gods are wrong, this paladin will do all in their ability to correct things with blinding, burning light. Possibly even ascending into godhood themselves.

Example: (X) (X) (X -For Broken Oath)

Social: The social focused paladin sees the good in all people and strives to change minds rather than smite evil. With a heavy focus on uplifting the downtrodden, bringing hope to the hopeless and shielding the vulnerable. Their music is about acceptance and strength.

Example: (X) (X) (X)

Ranger

Standard: Look we know you just picked this for the animal companion. That you basically get to be Legolas is only a bonus. Think folk music. Something that can be played around a campfire by a solitary traveler.

Example: (X) (X) (X) (X)

Legendary: You can snipe just about anything and make friends with any animal (and maybe a few people, if you HAVE to)

Example: (X) (X) (X)

Social: Rangers are often individualistic, but I prefer to think of it as self-sufficient. They can live off the wilds by themselves, far from civilization, but give them a bit of companionship and they’ll be very glad for it. They might protect and guide others, but they won’t put up with stuffy personalities. Find some music that’s kind of awestruck and happy that they’ve got people with them, or heartbroken lonesome songs.

Example: (X) (X) (X)

Rogue

Standard: You’re sneaky and that’s how you like it, squishy as you are. People will catch you humming the mission impossible theme at random moments, but you commit the biggest sin the most often: DON’T SPLIT THE PARTY.

Example:  (X) (X) (X) (X)

Legendary: People can’t hit what they can’t see. You also have a handful of spells up your sleeves to trick people or steal things at a distance. You’re essentially a living poltergeist.

Example: (X) (X) (X)

Social: Be professional. Have a plan to kill everyone you meet.

Example:  (X) (X) (X)

Sorcerer

Standard: Sorcerer is just bursting with magic! You’re kind of show-off-y and this all comes naturally to you! But... Sometimes things get a bit out of control... You’re still working on finding that balance. Grab some tunes you can dance/groove to.

Example: (X) (X) (X) (X)

Legendary: You’ve tapped into your magical heritage to it’s fullest extent. You hardly even seem like a mortal anymore.

Example: (X) (X) (X)

Social: EEEEEY WHO WANTS TO SEE ME SHOOT FIRE OUT MY ASS??! Party themes. It’s gonna get weeeeiiiird.

Example: (X) (X) (X) (X)

Warlock

Standard: Flunked out of Wizard school? Desperate for some power fast? Willing to have a sugar daddy? Try Warlock today! Bonus that you get to be spooky and pump out the most powerful spells, at the cost of having the magical stamina of an overweight pug. Have some spooky magical tunes that are really more about your patron than you.

Example: (X) (X) (X) (X)

Legendary: Somehow having next to no hp and only two spell slots didn't kill you! You're now ready to shape reality to your whims! (So long as you ask your patron first)

Example: (X) (X) (X)

Social: A social warlock is dripping with charisma, spying spells and hypnotic magic. Like a terrible child of bards and rogues, they'll control the social scene, but also like them they they better have an exit strategy if they get caught. Their music is charming, but also hypnotic.

Example: (X) (X) (X)

Wizard

Standard: You wanted magic but you weren’t born with it. You didn’t cheat like SOME classes (warlock) and got your talents through diligent study and hard work. Think music to study to, especially classical.

Example: (X) (X) (X)

Legendary: You’ve unlocked knowledge that nobody else has! You’ve pulled together science and magic to bend the world to your whims! Either you want to rule people, help people, or have them leave you alone for once.

Example: (X) (X) (X)

Social: You can do MAGIC. Why aren’t people listening to you?! (You’re pretty much the fantasy equivalent of a University Graduate who’s working a minimum wage job. That’s why.) Your snark won’t help here.

Example: (X) (X) (X)

Bonus: The DM: (X) (X)

Bonus, for the whole group: (X)

[thedemonlordvampiros]

D&D Characters I’ve Had

So, just realized that I have some fun D&D characters and feel like sharing them on my tumblr that cost Verizon about $2.50

-Doom Damakos: Doom is probably one of my favorite characters. He was a half-tiefling/half-goliath totem-warrior barbarian, with Critical Role’s Titanstone Knuckles because my DM was a huge fan of the Vox Machina campaign. So, with a strength score of 24, he would have been an absolute monster in combat, but I felt like having fun and making it easier/harder for my DM by never wielding an actual weapon, unless it was to use it the wrong way. So anytime we entered combat, Doom, an almost 8′ demon that looked like he was made of stone, would walk over to the nearest enemy, pick them up, and throw them at another enemy. I made essentially made him the embodiment of “I’ll beat this motherfucker with another motherfucker”, and boy was it fun. 2 of my favorite uses of this are 1) we ran into a fight with a pack of wolves, Doom grabs one by the snout and just tosses it into the stratosphere, making it take 10d6 fall damage and turning into paste, and 2) in a fight against a wizard who had 4 large spiders under his control, Doom punched one of the pillars in the room that wasn't holding the ceiling up, picked it up, and squashed a spider with it, finishing the encounter.

-Mayhem: By far the most fun I’ve had with a spellcaster, Mayhem will definately be reused when I can find more games to play. Mayhem was mostly homebrew stuff, but the class was one my DM for the campaign picked out and said was okay. She was a FMA style Hommunculus Hexer with the elemtal contract. Hexer is like the standard fantasy witch, you sold your soul or whatever for magical powers and a familiar to do your bidding. For Mayhem, that familiar was a fire snake that I named Udon(like the noodle). What made her so much fun to play was an ability called hexes. Among the hexes that could be cast was one called the ‘Sustaining Hex’ which basically let you cast a concentration spell and not need to focus on it. First time I used this was on a leader of a group of cultists in Hoard of the Dragon Queen. First, Mayhem cast Hold Person on the leader, then I used her bonus action to activate the sustaining hex and keep the boss stuck in place. When my next turn came around, I used Fireball centered on the boss and dealt a lot of damage to her.

-The House Always Wins: First time I ever played a tabaxi and it was a mostly RP campaign with little to no combat, but since I was still kinda new it was okay and fun. The House Always Wins, or House as anyone ever refered to him as, was a Tabaxi Card Dealer with a little it of fiendish heritage giving him the Devil’s Tongue trait tieflings can having instead of the movement burst tabaxi normally get. In combat, House was meant to be the archer, only using a deck of playing cards instead of a bow or crossbow. But combat was rare so we can skip that. In personality, House is supposed to be very persuasive and be able to get anyone to like him. He means well to a degree, but is not afraid to sneak in a bit of vicious mockery to get a threat across. I wish I could have played him more, but it was a club campaign that started before winter break, so I’m just gonna keep him on hand to play at a later date.

-Temperance: Technically I have never gotten to play Temperance since the campaign I was supposed to join her with(at level 15 nonetheless) ended before I got to join.(The DM wasn’t very good according to my brother who was in the campaign before me, so I guess it’s not that bad) Temperance is probably the one character I’ve had the most story for and the one I wanna play the most. Temperance was supposed to be a Lawful Evil Lamia(more MonMusu less D&D, snake from the waist down, lady from the waist up) Plague Doctor with a subclass that was more on the cauterize-with-a-hot-iron-rod, that-leg-looks-infected-better-amputate feel than the make people better kind. The whole aesthetic of Temperance was supposed to be that of a Mob Boss, but with her ties in various alchemy, apothecary, and medical facilities instead of political and governmental places. So instead of paying off the local guard to glance over some of the wrong doings of her ‘gang’, Temperance would pay off the various doctors/healers so they would sell her specific brand of potions instead of the common ones. Her ‘goons’ as they where would have been clerics, druids, bards, and anyone with an affinity for alchemy that wanted to make some gold and not have to pay the same price as everyone else. The ultimate goal that I wanted Temperance to achieve was to make and/or modify some disease that existed in the world so that her group sold the only cure and could make a lucrative profit out of it. It wasn’t gonna be a wide-spread epidemic, just a village or two, maybe a small township, only enough so that it would be talked about and feared to drive people to buy Temperance’s cure.

Sorry for the long post. I just felt like saying something about my characters somewhere and this is the one social media(if you can call it that) that I use. If, for some reason, people use any of these concepts, I would like to now, but understand if you don't wanna talk to me about anything.

[gitangelo-blog]

The Book Museum cum Ethnology Center

• Need a place to go with your family and friends? Students/ School/ Educational Tours?

• The Book Museum cum Ethnology Center is the best place for you!

• The museum houses different artifacts from the Philippines and it also houses one of the smallest books in the world and the smallest stone tablet from China.

• Enjoy your bonding while learning about the different cultures in the Philippines and see a large collection of books!

• Visit the museum at 201 South East Dao St., Marikina Heights, Marikina City from 9am – 12noon & 1pm - 5pm (Tuesday to Sunday)

• Entrance fee is Php 300.00 per head inclusive of Php 100.00 consumable at the James Dean Cafe. The cafe offers new burgers on the menu; for only Php 85.00-95.00 and enjoy a delicious burger with free iced tea.

• School/Group booking is subject for discount.

For inquiries/ reservations/ partnership please message us on

www.facebook.com/git.angelo Call or txt 09214576783 (smart) Email: noyangeles@gmail.com Skype: live:noyangeles

• Other sites to visit

• Museum of Cordillera Cultural Heritage (formerly known as Museum of Cordillera Sculpture) Bissang, Tam-An, Banaue, Ifugao

• REX Display Area at City View IV Tanza, Cavite

• World Lounge (Events Place - for rent), Marikina City

• James Dean Café, Marikina City (Events Place - small group meeting)

Book Museum and Ethnology Center

• One of the smallest books in the world “The Lord’s Prayer” in seven languages.  3.3mm x 3.3mm Letterpress printed from Gutenberg, Germany • Smallest tablet from Sichuan Province, China • Crucifix from Frankfurt, Germany • Last Supper was meticulously hand carved by Padul of Angono, Rizal

Limited Books

• Complete William Shakespeare’s works in miniature edition • Miniature Edition of Little Prince by Antoine de Saint-Exupery • First Edition Harry Potter and the Goblet of Fire • First Edition of Doctrina Christiana Explicado

Ethnology Center

Highlights of well-preserved and precious artifacts from Northern and Southern Part of the Philippines

• Wooden Scooter of Cordillera • Traditional wooden coffin of Cordillera • Totem pole based on Philippine Mythology and Legends • Artist’s concept of a Traditional B’laan House • Traditional Chess set from Southern Philippines • Artifacts of Head-hunting tradition of Cordillera • The Museum Annex • Stones from Gigantes Island • Collection of Assorted Head Gear (Local and International)

https://youtu.be/QZIKo-zCJyE