#adrienne keene

[cannedbluesblog]

Here We Go Round the Mulberry Bush (1968)

[ocaledonia]

lately i've been doing a lot of thinking about why women are the main supporters of transgenderism, and i think i've boiled it down to three main elements

1. women are socialised to be more accommodating and accepting of uncomfortable situations than men are. this has been discussed at length in the radical feminist tradition and the gender critical movement, but it bears reiterating. women are taught from early childhood to disbelieve their feelings of fear, anger and humiliation for the benefit of men.

2. i'd argue that the description of physical dysphoria is one that almost all women empathise with, because of how alienated women are from their bodies by society, in a way most men are not. even women who would say they are comfortable with their bodies have complicated feelings about having a female body in our society, even if they don't have the framework to express it. therefore, when women are confronted with men who make claims about sex dysphoria, they relate and empathise and some can draw conclusions that this distress aligns them with femaleness (i would argue that all women experience sex dysphoria in a misogynist society like ours but i digress). i think there many women also find solace in the idea that someone else could possibly have their physical distress alleviated and want to believe it is possible to find a solution to it.

In other words, “The body has been made so problematic for women that it has often seemed easier to shrug it off and travel as a disembodied spirit.” - Adrienne Rich

3. women want to believe that male oppression and men aren't really that bad. to comprehend the scale of women's oppression, and to fully understand that the men you know and love are as complicit in it as any other, feels like balancing on the brink of madness. women are desperate for evidence that things aren't as bad as they suspect.

Andrea Dworkin says it best: “Many women, I think, resist feminism because it is an agony to be fully conscious of the brutal misogyny which permeates culture, society, and all personal relationships.”

that is part of the allure of the trans movement for these women in denial. breaking down the categories of male and female, and denying the social dynamics therein, means they don't have to grapple with the ugliness of misogyny.

anyone else have thoughts on this? i'd be keen to hear if others on radblr think

[0mystic]

I would like to request a fic about a vampire mistress deciding to use a reader as a footrest. Reader has a vibrator in her cunt that stimulates the clit and two mini ones taped on her nipples. Of course the vampire mistress has the controls for these and she expects her footstool to be quiet and still.

I actually really like this idea, it’s my first time writing something that’s Forniphilia so criticism is appreciated!

Pairing: F.Vampire X F.Reader

Cw: Forniphilia, praise, overstimulation(only a mention), blood mention.

Part two is outtt!!

The sound of pages turning an occasional sip and a soft hum filled the air. Adrienne let out a soft laugh her pale fingers turning the page of her book as she readjusted her legs upon you purposely, causing the vibrator attached to your nipples to jostle. You let out an involuntary whine at the movement trying to bite on your lip to limit the sound.

“Was that a whine I heard” She moves over to her glass of blood taking a sip before looking down to lock eyes with you. Her deep crimson eyes glaring through your glossy tear-filled ones as she murmurs “How utterly distasteful, can’t you see I’m trying to enjoy my evening.”

She lets out a sigh pulling out the remote connected to your dripping pussy. “You should know by now insolence shall not be tolerated in my presence.” She spoke in a cold tone as she used a perfectly manicured nail to turn the dial higher. She lets out a sharp grin showing her fangs as she hears the gasp that falls out your mouth following the action.

“Oh dear look at what a mess you are making on the floor” she feigns shock covering her mouth as she pushes the dial more. You’re shaking now whimpers and whines falling out of your mouth faster than you could bite your lip.

“What a noisy little foot stand I have here, have you lost all your manners?” She mocks a short giggle following her words. “Or perhaps I haven’t trained you enough, do you need to go back to being my table” she muses. She turns up the dial once again reaching for another sip from her glass.

You look up at her the crimson liquid painting her lips as she teasingly lets her tongue reach out to swipe over them purposely flashing her fangs.

“Awwwww poor baby, bet you wanna cum really bad for me don’t you” she presses her foot into your back harder. You let out a soft keen babbling to her as her smirk only grows. “Go on then be a good girl…cum for me” she whispered swirling the glass in her hands a bit before taking another sip.

You let out a long whine feeling the pressure in your stomach steadily build. Babbling out short ‘thank yous’ and ‘yes’s as your vision goes stark white. You lose all sense of composure as you orgasm your body falling down to the floor twitching sporadically.

Adrienne simply lets out a soft hum brushing back her black and silver locks before picking up her book from her lap, finishing where she left off. You let out small moans and whimpers from the overstimulation as she lets out a small ‘shhhhhh’. “Be good for me and let me finish my book first, then I’ll give you a real treat.” The sound of her flipping through pages quickly resumed now paired now with the sound of your gentle whines and keens.

—————————————————————————————

Sooooo how’d I do, this was my first time writing for this topic so sorry I couldn’t go into more detail anon but I did try!! Also I saw this and have been trying to write it like alllll day.

[rockislandadultreads]

Nonfiction Picks: Native American Heritage Month

Celebrate Native American Heritage Month by checking out these nonfiction recommendations!

Whiskey Tender by Deborah Jackson Taffa

Deborah Jackson Taffa was raised to believe that some sacrifices were necessary to achieve a better life. Her grandparents - citizens of the Quechan Nation and Laguna Pueblo tribe - were sent to Indian boarding schools run by white missionaries, while her parents were encouraged to take part in governmental job training off the reservation. But as Taffa grew up, she began to question the promise handed down by American society: that if she gave up her culture, her land, and her traditions, she would be able to achieve the “American Dream.” This memoir traces how a mixed tribe native girl interprets her own identity. 

By the Fire We Carry by Rebecca Nagle

In this volume, Rebecca Nagle recounts the generations-long fight for tribal land and sovereignty in eastern Oklahoma. This book not only stands as a landmark work of American history, but is also a powerful work of reportage that braids the story of the forced removal of Native Americans onto treaty lands in the nation’s earliest days, and a small-town murder in the 1990s that led to a Supreme Court ruling reaffirming Native rights to that land more than a century later.

Notable Native People by Adrienne Keene

Celebrate the lives, stories, and contributions of Indigenous artists, activists, scientists, athletes, and other changemakers in this illustrated collection. From luminaries of the past to contemporary figures, this volume highlights the vital impact Indigenous dreamers and leaders have made on the world. This collection also offers primers on important Indigenous issues, from the legacy of colonialism and cultural appropriation to land and water rights, and more.

A Mind Spread Out on the Ground by Alicia Elliott

The Mohawk phrase for depression can be roughly translated to "a mind spread out on the ground." In this urgent and visceral work, Alicia Elliott explores how apt a description that is for the ongoing effects of personal, intergenerational, and colonial traumas she and so many Native people have experienced. Elliott's deeply personal writing details a life spent between Indigenous and white communities, a divide reflected in her own family, and engages with such wide-ranging topics as race, parenthood, love, art, mental illness, poverty, sexual assault, gentrification, and representation.

[systastic]

hello darling <3 one would like to request a level 4 nilou fictive if possible! the only thing one would like to specify is she/her & lesbian, otherwise everything is creators choice.

hello blue text anon~ nilou is so pretty!! i hope mew enjoy fleur -🍥

gonna flesh her a lot out cus her personality ingame kinda sucks. no offense -🐝

name :: nilou, padisarah, ćeline, lilah, leila, adrienne (ari or adri as a nickname), haniya, naira, calypso, seriyah, alara, or anahita

age :: 21 to 23

pronouns :: she/her && sometimes fleur/fleurs or fae/feyr

roles :: reliever, pacific, curacormate, dear, obsonātor, social pleaser

species :: human performer

gender identity :: viscarian (the flower), myosotian (gender), musigender, genderconcerto, tambougender (first def.)

orientation :: lesbian, sapphic

source :: genshin impact

aesthetic :: bloomcore, spring, dreamy, ethereal

appearance description :: haniya is rather short, clocking in at around five feet and three inches tall. she has red-brown hair that stops just shy of her thighs, and often wears fancy dresses or outfits that look good during her dances. closed-toed shoes are rather uncomfortable and rarely fit properly due to her feet being a touch too small for her body, so she opts for sandals instead. ćeline has had abnormally short hamstrings from birth. she works hard to keep her physique and ability to move intact; this is why she dances so often, to help remain flexible and mobile. even still, fleur is somewhat chubby: the muscle she has built up from years upon years of dancing has given her a lithe yet muscular frame, and seriyah’a love of pudding has placed some chub on top. leila has a cane that she uses on days when she has pushed herself too hard; the shooting pain of walking makes it a struggle to move, even with having worked so hard. these days, her use of a cane is rare — but the chance of it happening is never quite zero.

personality description :: adrienne is a normal girl: she is sweet to her friends, kind to strangers, and harbors a deep love for dance. she is seen as the quiet girl among the dance troupe who is eager to help. those in the troupe who have problems often come to her for solutions or mediating arguments. more than this, though, naira is outspoken. what she views as misdeeds are never let off lightly; she confronts those responsible, admonishing them for their crimes and urging them to “do better next time��. she is keen to giving people second chances — but if that second chance is used up, alara will not give them a third. creativity blooms from her every movement. whether it be dance, embroidery, watercolor, or cooking, naira will do it to the fullest. minor mistakes of her own or her friends (ink smears, accidental color leaking, et cetera) are not taken too serious. there is always a chance to try again.

likes :: kind souls, cute animals such as kitties, bunnies, and puppies, her specialty pudding (other types of pudding are also good), ballet, classical music, leg strength training, wide open flower fields, embroidery, the inteyvat flower, lotus flowers, creating flower crowns or flower centerpieces, mentoring and teaching other people to dance, decorating her cane with fresh flower garlands, picnics in nature, and spending time with her close friends.

dislikes :: bastardization of any culture, hard rock, punk, or pop music, those who assume her whole personality is dancing, those who think she’s “fragile”, assumptions of ability, the rampant ableism in the dance world, those who mock others who are trying to improve and succeed, those who assume art is “easy” and that they could do it themselves (it is not easy for everyone; art is an expression of the soul. to claim it easy or that you could do the same undermines the original meaning of the piece and the work that was put into it). she has argued with other troupe members over this before.

front triggers :: classical music, dance lessons, soft and sweet piano compositions, watching ballet, and going to an art gallery

signoff :: ⚜️ or 🩰 (no others really match…)

mood board :: can be found here

songs for you :: merry go round of life from howl’s moving castle, le cygne by camille saint-saëns, clair de lune by claude debussy, the mercy of the wind by million eyes, return to versailles by joshua kyan aalampour, ballerina by yehezkel raz

kins :: the sugar plum fairy from the nutcracker, odette from swan lake, ondine from ondine

typing quirk? :: spaces out her words . . . nothing is ever too close together . avoids capital letters , does not use adverbs or contractions very often , and has a flowery way of speaking . manner of speech is comparable to purple prose .

image source here!

[cantsayidont]

Haterating and hollerating through the '90s:

POSTCARDS FROM THE EDGE (1990): Carrie Fisher scripted this witty adaptation of her novel about coked-up, pill-popping actress Suzanne Yale (Meryl Streep), who overdoses in the bed of a strange man (Dennis Quaid), ends up in rehab, and learns that the only way the production insurance company will let her keep working is if she stays with her mother, an aging singer-actress-diva (Shirley MacLaine) whose love for her daughter is equaled only by her tireless determination to upstage her. (No, it's not autobiographical at all, why do you ask?) Fisher's deftly paced, funny script weaves in various serious mother-daughter moments without ever becoming mawkish, and offers a fabulous part for MacLaine, who has a ball poking fun at herself as well as Debbie Reynolds, Fisher's real-life mother and the obvious basis for the film's lightly fictionalized "Doris Mann." Curiously, the weakest link is Streep, who never quite sheds her customary air of prim affectation and always seems ill at ease with Fisher's layers of self-deprecating, sarcastic humor. CONTAINS LESBIANS? Apparently not, although I had questions about Suzanne's rehab friend Aretha (Robin Barlett). VERDICT: MacLaine's finest hour, but Streep's primness keeps it "good" rather than "great."

TERESA'S TATTOO (1993): Painfully unfunny crime comedy, directed by Melissa Etheridge's then-GF Julie Cypher and costarring Cypher's ex, Lou Diamond Phillips, along with an array of incongruously high-profile actors like Joe Pantoliano, Tippi Hedren, Mare Winningham, Diedrich Bader, k.d. lang (!), Sean Astin, Emilio Estevez, and Kiefer Sutherland, most in bit parts (some of them unbilled). The headache-inducing plot concerns a couple of brain-dead thugs whose elaborate hostage scheme hits a snag when their hostage (Adrienne Shelly) accidentally dies. Their solution is to kidnap lookalike Teresa (also Adrienne Shelly), a brainy Ph.D. candidate, and disguise her to look like the dead girl — including giving her a matching tattoo on her chest — in the hopes that the dead girl's idiot brother (C. Thomas Howell) won't notice the switch until it's too late. This truly bad grade-Z effort, barely released theatrically, feels like either a vanity project or a practical joke that got out of hand, and is interesting mostly as a curiosity for Melissa Etheridge fans: The soundtrack is M.E.-heavy, and Etheridge herself has a brief nonspeaking role. CONTAINS LESBIANS? Technically? (Etheridge has no lines and lang plays a Jesus freak.) VERDICT: May erode your affection for M.E.

BLUE JUICE (1995): Tiresome comedy-drama about an aging surfer (a terribly miscast, painfully uncomfortable-looking Sean Pertwee) who's still determined to continue living like a 20-year-old surf bum with his obnoxious mates, even though his back is giving out and he's perilously close to driving away his girlfriend (a disconcertingly hot 25-year-old Catherine Zeta Jones), who is keen for him to finally cut the shit. Meanwhile, the scummiest of his mates (Ewan McGregor) doses their pal Terry (Peter Gunn) and gets him to chase after an actress from his childhood favorite TV show (Jenny Agutter) in hopes of dissuading from marrying his actual girlfriend (Michelle Chadwick), and their mate Josh (Steven Mackintosh), a successful techno producer, flirts with an attractive DJ (Colette Brown) who's actually furious at him for building a vapid techno hit around a sample of her soul singer dad's biggest hit. The latter storyline probably had the most potential (although a weird scene where Josh is castigated by a group of outraged soul fans seems like a lesser TWILIGHT ZONE plot), but none of the script's various threads ever amounts to much. CONTAINS LESBIANS? It doesn't even pass the Bechdel test. VERDICT: If you happen upon it, you may be tempted just for Zeta Jones (and/or Brown), but the rest wears out its welcome with alacrity.

HIGHER LEARNING (1995): Potent story of simmering racial tensions on the campus of a university that definitely isn't USC (writer-director John Singleton's alma mater, and where most of the film was obviously shot), let down by incredibly heavy-handed execution. (The film's final shot is of the word "UNLEARN" superimposed over a giant American flag!) A capable cast (including Omar Epps, Kristy Swanson, Michael Rapaport, Jennifer Connelly, Ice Cube, Tyra Banks, Cole Hauser, Laurence Fishburne, and Regina King) tries to maintain a sense of emotional reality through Singleton's frequent excursions into overpowering melodrama, but there are so many competing plot threads that few characters have any depth; curiously, the script's most complex characterization is in the scenes between budding white supremacist Remy (Rapaport) and Aryan Brotherhood organizer Scott (Hauser). Singleton made this film when he was 25, and there's no shame in its sense of breathless ambition (even if it inevitably bites off more than it can chew), but the overwrought stridency undercuts its intended impact. For a more effective treatment of similar themes in roughly the same period, try Gilbert Hernandez's graphic novel X, originally serialized in LOVE & ROCKETS #31–39 and first collected in 1993. CONTAINS LESBIANS? Jennifer Connelly gives Kristy Swanson a bisexual awakening. VERDICT: The '90s through a bullhorn.

CRASH (1996): Divisive David Cronenberg adaptation of the J.G. Ballard novel, about a movie producer called James Ballard (James Spader) and his desperately horny wife (Deborah Kara Unger), drawn into a loose-knit group of car-crash fetishists organized around a man called Vaughan (Elias Koteas at his creepiest), who stages recreations of famous celebrity crashes like the 1955 accident that killed James Dean. Despite some pretentious dialogue about "the reshaping of the human body by modern technology," the controlling idea might be better summarized as "anything can be a paraphilia if you get weird enough about it." Part of what offends people about the film is that Cronenberg deliberately treats the entire story with the same frosty clinical detachment, rendering the "normal" sex scenes just as remote and perverse as the characters' fixation on the grisly aftermath of car wrecks; the point is that there is no line, just different facets of the same erotic longing, which each of the (admittedly unsympathetic) principal characters embodies in different ways. Spader, Kara Unger, and Koteas are very good, as is Holly Hunter, in perhaps the bravest role of her career, but Rosanna Arquette is underutilized. A worthwhile companion piece would be Steven Soderbergh's 1989 SEX, LIES, AND VIDEOTAPE, also with Spader, which is much more highly regarded (though almost as contrived and scarcely less perverse), perhaps because it seeks to titillate where Cronenberg does not. CONTAINS LESBIANS? Briefly. (See previous note in re: underutilization of Rosanna Arquette.) VERDICT: Icy but interesting.

[kudosmyhero]

Batman (vol. 1) #492: Knightfall, part 1: Crossed Eyes and Dotty Teas

Read Date: September 21, 2023 Cover Date: May 1993 ● Writer: Doug Moench ● Penciler: Norm Breyfogle ● Inker: Norm Breyfogle ● Colorist: Adrienne Roy ● Letterer: Richard Starkings ● Editor: Dennis O'Neil ◦ Scott Peterson ◦ Jordan B. Gorfinkel ●

**HERE BE SPOILERS: Skip ahead to the fan art/podcast to avoid spoilers (👏=didn't like it, 👏👏=it was ok, 👏👏👏=I liked it, 👏👏👏👏=I really liked it!, 👏👏👏👏👏=I loved it!)

Reactions As I Read: ●I've been keen to read Knightfall for a few years now. I'm excited to finally get to it! ● I didn't know the Mad Hatter has a chimpanzee… ● also, I can't think of chimpanzees without thinking of the movie Nope, and the real-life case of a woman being disfigured by a friend's pet chimp. apes are cute when they're babies, but they can fuck you up when grown ● Bane just chillin', watching the tube:

● Batman is in no shape to handle all these Arkham inmates. Tim has a right to be worried. ● RIP, Film Freak. I hardly knew ye ● 👏👏👏👏

Synopsis: Following the massive Arkham breakout, the Mad Hatter is the first to make a move. He breaks into a haberdashery, stealing several hats. He is observed by Bird and his falcon Talon. Unnoticed by Bird, the Hatter captures the falcon and places a homing device on it.

Batman and Robin hear a police dispatch announcement regarding the crime, and try to beat the police to the scene. Batman discovers an invitation to a tea party to be held at Tenniel Estate, and they speed away, just as the police arrive.

The Hatter invites several criminals to join his tea party, under the pretense of giving them the opportunity to kill Batman. He forces them to put on his hats, which are fitted with voice-activated mind-control devices. He sends Film Freak out to find out who released them from confinement, because he doesn't appreciate being used. Film Freak uses the homing device placed on Talon to find Bane's hideout.

Batman instructs Robin to be backup only, remaining out of the fight. However, Batman is obviously unwell, and Robin is filled with concern. The Caped Crusader bursts into the tea party and attacks Hatter and his thralls. He questions the Hatter about Bane's involvement, but the Hatter doesn't recognize the name. Bane shouts "I am Bane" into the Film Freak's transmitter, just before killing him. The Hatter sends his thugs after Batman, and when he trains a gun on the hero's back, Robin leaps into action, and saves his mentor's life.

The heroes overhear Bane shouting that he plans to kill the Batman over the transmitter. Robin assures Batman that they will find and catch their tormentor, but Batman is visibly shaken and exhausted - with the rest of Arkham's inmates still on the loose.

(https://dc.fandom.com/wiki/Batman_Vol_1_492)

Fan Art: Mad Hatter by Klar-Jezebeth

Accompanying Podcast: ● Everyone Loves the Drake - episode 30

[nordleuchten]

La Fayette being a loving Father (Part 5)

Part 1

Part 2

Part 3

Part 4

The Marquis de La Fayette to Benjamin Franklin, September 17, 1782

Every Child of Mine that Comes to Light is a Small Addition to the Number of American Citizens. I Have the pleasure to Inform You that, tho' She Was But Seven Months Advanced, Mde. de Lafayette Has this Morning Become Mother of a Daughter Who However Delicate in Its Begining Enjoys a Perfect Health, and I Hope Will Soon Grow Equal to the Heartiest Children.

Idzerda Stanley J. et al., editors, Lafayette in the Age of the American Revolution: Selected Letters and Papers, 1776–1790, Volume 5, January 4, 1782‑December 29, 1785, Cornell University Press, 1983, p. 56-57p.

The Marquis de La Fayette to his wife Adrienne, March 27, 1783

For myself, I have given up all formalities and think only of my aunt. She talks to me about my affairs and about her own, and I tell her about you, our children, and America.

Idzerda Stanley J. et al., editors, Lafayette in the Age of the American Revolution: Selected Letters and Papers, 1776–1790, Volume 5, January 4, 1782‑December 29, 1785, Cornell University Press, 1983, p. 117.

The Marquis de La Fayette to his wife Adrienne, March 27, 1783

My aunt loves you tenderly, is very touched by your concern, and is writing you, I think, today. I have carried out your commissions, which are much appreciated. I gave her poor Anastasie’s portrait. Have one made of George and Virginie and also have a copy made of the little picture you have of me. If all that is ready, I can send it to her when I arrive. A thousand affectionate greetings to mama and my sisters. I embrace our children.

Idzerda Stanley J. et al., editors, Lafayette in the Age of the American Revolution: Selected Letters and Papers, 1776–1790, Volume 5, January 4, 1782‑December 29, 1785, Cornell University Press, 1983, p. 118.

The Marquis de La Fayette to George Washington, November 11, 1783

Mde. de Lafayette, My three Children are presented to You with the Most tender Homage to Yourself and Mrs. Washington. Your George is in perfect Health.

Idzerda Stanley J. et al., editors, Lafayette in the Age of the American Revolution: Selected Letters and Papers, 1776–1790, Volume 5, January 4, 1782‑December 29, 1785, Cornell University Press, 1983, p. 164.

(La Fayette generally end most letters to George Washington with remarks about his three children, if they are healthy and well, how and what they are doing. These remarks are far too numerous to include them here.)

The Marquis de La Fayette to George Washington, May 14, 1784

He Has taken Care, of A family picture, Including Mde. de Lafayette, our Children, and Myself which I Beg leave to Present to My dear General, as the likenessess of those Who are Most Affectionately devoted to Him.

Idzerda Stanley J. et al., editors, Lafayette in the Age of the American Revolution: Selected Letters and Papers, 1776–1790, Volume 5, January 4, 1782‑December 29, 1785, Cornell University Press, 1983, p. 216.

The Marquis de La Fayette to his wife Adrienne, June 25, 1784

Forgive me, my dear heart, for all my commissions, but it is nice to think that we are so closely united that our two interests are but one, that my affairs and yours are the same thing, and that everything, from our children to the last little tree at Chavaniac, is shared between us and everything affects us equally. Your Chavaniac trip, if it is possible, pleases me very much. I am very keen on George’s going, not only because of my aunt, but especially for his health, so that he will breathe the country air and run without hindrance, and especially without fear that he will do himself harm; and finally, I would like him to be raised without any fastidiousness, and I would rather know he is with the wolves of [illegible] than with the nice children at the Tuileries. Don’t you think as I do, my dear heart? I still have my other fantasy about the abbe’s costume, and I would rather he exchanged his little collar for a sword, because throughout my childhood I never stopped envying the luck of those who had a governor.

Idzerda Stanley J. et al., editors, Lafayette in the Age of the American Revolution: Selected Letters and Papers, 1776–1790, Volume 5, January 4, 1782‑December 29, 1785, Cornell University Press, 1983, pp. 230-231.

The Marquis de La Fayette to his wife Adrienne, June 28, 1784

Embrace our children with great tenderness.

Idzerda Stanley J. et al., editors, Lafayette in the Age of the American Revolution: Selected Letters and Papers, 1776–1790, Volume 5, January 4, 1782‑December 29, 1785, Cornell University Press, 1983, p. 231.

The Marquis de La Fayette to his wife Adrienne, August 13, 1784

Embrace our children a thousand and a thousand times.

Idzerda Stanley J. et al., editors, Lafayette in the Age of the American Revolution: Selected Letters and Papers, 1776–1790, Volume 5, January 4, 1782‑December 29, 1785, Cornell University Press, 1983, p. 236.

The Marquis de La Fayette to his wife Adrienne, August 20, 1784

That, my dear heart, is how we spend our time, and we often talk of you, of our children, and of anything that has to do with the family. (…) Embrace our dear children. Farewell, farewell, my dear heart. You know how much I love you.

Idzerda Stanley J. et al., editors, Lafayette in the Age of the American Revolution: Selected Letters and Papers, 1776–1790, Volume 5, January 4, 1782‑December 29, 1785, Cornell University Press, 1983, p. 237.

The Marquis de La Fayette to his wife Adrienne, October 10, 1784

I enclose a large packet of letters, and you will also find one for my aunt, for Gouvion, and for our dear Anastasie. (…) I am impatient to know how our children took to the country and their father's natal air.

Idzerda Stanley J. et al., editors, Lafayette in the Age of the American Revolution: Selected Letters and Papers, 1776–1790, Volume 5, January 4, 1782‑December 29, 1785, Cornell University Press, 1983, p. 262.

[read-alert]

October Wrap Up!

My favorite of the month was A Small Place by Jamaica Kincaid, and Redemption in Indigo by Karen Lord checked off Barbados for my Read the World Challenge!

Gravity Falls: Journal 3 by Alex Hirsch and Rob Renzetti- 5⭐️

Ander and Santi Were Here by Johnny Garza Villa- 4.5⭐️

Nightlights by Lorena Alvarez Gomez- 4⭐️

Fat Chance, Charlie Vega by Crystal Maldanado- 3.5⭐️

King and the Dragonflies by Kacen Callender- 5⭐️

Finding Joy by Adriana Herrera- 2.5⭐️

Redemption in Indigo by Karen Lord- 4⭐️

A Warning About Swans by RM Romero- 4.5⭐️

The Death of Sitting Bear: New and Selected Poems by N Scott Momaday- 5⭐️

Alice's Adventures in Wonderland by Lewis Carroll- 2.5⭐️

Celestial Monsters by Aiden Thomas- 3.5⭐️

The Poet X by Elizabeth Acevedo- 4.5⭐️

A Small Place by Jamaica Kincaid- 5⭐️

Mort by Terry Pratchett- 3.5⭐️

The Follower of Flowers by Natalia Hernandez- 5⭐️

Hell Followed With Us by Andrew Joseph White- 4.5⭐️

Isla to Island by Alexis Castellanos- 5⭐️

Sweethand by NG Peltier- 3.5⭐️

Dying Inside by Pete Wentz et al- 1.5⭐️

You Don't Have a Shot by Raquel Marie- 4⭐️

A Mind Spread Out on the Ground by Alicia Elliot- 5⭐️

The Truth According to Ember by Danica Nava- 3⭐️

Those Beyond the Wall by Micaiah Johnson- 5⭐️

Notable Native People: 50 Indigenous Leaders, Dreamers, and Changemakers from Past and Present by Adrienne Keene- 5⭐️

The Night Wanderer by Drew Hayden Taylor- 5⭐️

Conflict Resolution for Holy Beings by Joy Harjo- 5⭐️

The Cane Kids by Kristen Lang- 5⭐️

Gravity Falls: Lost Legends by Alex Hirsch et al- 3⭐️

Stephanie Brown Batgirl vol 2 by Bryan Q Miller et al- 4⭐️

Anoka by Shane Hawk- 3.5⭐️

Moon of the Crusted Snow by Waubgeshig Rice- this one was a reread, originally rated 4⭐️, bumped up to 4.5⭐️ this time

Each of Us a Desert by Mark Oshiro- 3.5⭐️

[grandhotelabyss]

While she’s on your mind, any thoughts on Sontag’s “Fascinating Fascism”?

As a piece of argumentative writing, a literal case for the prosecution with its exhibits A and B, it is as good as they come. It's harder to evaluate her Americanization of the (not wholly unjustified) Frankfurt School paranoia, fascism lurking at the end of every human need and desire, as if it were in fact the name for our original sin or total depravity. The aside, for example, about 2001 as fascist-adjacent art. Surely this goes too far—as if anything monumental or visionary were thereby fascist, as if she'd aimed at Wagner and hit Sophocles—and all the more troubling in light of the essay's open defense of elitism as counter-fascist strategy. This looks forward to what I persist, despite Blake Smith's friendly critique, in thinking of as The Volcano Lover's proto-Hillary-2016 authoritarian anti-fascism, its pitting of the enlightened elite against the alliance of deplorable masses and backward elites, which Hillary was happy to extend to noxious threats of prosecution for Americans just the other day:

The hard truth is that what may be acceptable in elite culture may not be acceptable in mass culture, that tastes which pose only innocuous ethical issues as the property of a minority become corrupting when they become more established.

Then again I haven't seen a single work of Leni Riefenstahl's. I remember her obituary in Artforum in 2003, describing her late work—marine photography—as issuing a challenge to Susan Sontag to find something fascist about a picture of a fish. (Sontag might have done it, too, since she just barely outlived Riefenstahl.) As for the essay's second part, the indictment of S&M and gay male culture, which we now know that she knew from sneaking into gay clubs dressed as a boy, I think it extends the essay's excessive severity, again in the Euro-leftist's Olympian posture, to a censure of all fantasy, of people who are desiring wrong, or even of desiring at all, as if she were about to break out with Adorno's "homosexuality and totality belong together" except about sexuality tout court—

Left-wing movements have tended to be asexual, and unisex in their imagery. Right-wing movements, however puritanical and repressive the realities they usher in, have an erotic surface. Certainly Nazism is "sexier" than communism (which is not the Nazis' credit, but rather shows something of the nature and the limits of the sexual imagination).

—and moreover offers a fetishism and even negative idolatry of historical fascism designed to mislead its readers about what the next instance of the totalitarian tendency would look like when it emerged. (Her slight naivete about humanitarian intervention later is the result.) Not a mistake she made, ironically, in her riposte to Adrienne Rich's attack on the essay for insufficient feminism, where she showed a keen awareness that even feminism itself may harbor fascist tendencies, a rehearsal for her later or even belated denunciation of communism as fascism with a human face, a claim she entertains but evades in this polemic.

[chokememaximoff]

Whispers of Shadows V

Reader x Natasha Romanoff

Abstract:In 'Whispers of Shadows,' Y/N, an avenger with a hidden identity, joins Hydra undercover, straining her relationship with Natasha. As loyalties blur, Y/N's battle against manipulation and her past takes center stage, revealing a story of secrets and self-discovery.

Disclaimer: "Whispers of Shadows" primarily focuses on Y/N's experiences within Hydra during the first half of the story, delving into her journey of manipulation and self-discovery. As the story progresses, the dynamics between Y/N and Natasha gain prominence, exploring their relationship and the impact of Y/N's choices.

Trigger Warning: "Whispers of Shadows" contains themes of manipulation, emotional and psychological distress, violence, betrayal, and complex relationships. The story also touches on self-identity, self-discovery, and personal growth. Reader discretion is advised, especially for those sensitive to these topics.

The night of the mission had arrived, shrouded in the whispers of darkness. Y/N and Adrienne moved like shadows, their steps synchronized in the pursuit of chaos. The avengers' compound was their target, a place that had once been Y/N's home, now a symbol of the betrayal that had consumed her.

As they infiltrated the compound, Y/N's heart clenched with a mixture of dread and nostalgia. She passed corridors that held echoes of her past, memories intermingling with the cold reality of her present. The mission's gravity weighed heavily on her as she moved with a purpose she couldn't deny.

A moment of separation came, Y/N's breath hitching as she watched Adrienne slip away into the shadows. She was alone now, surrounded by the ghosts of her former life. And then, amidst the tension, Y/N's heart stopped as Natasha Romanoff walked by.

The sight of Natasha, her former lover and comrade, was a blow to Y/N's resolve. Her breath caught in her throat, and a small noise escaped her lips – a sound that Natasha's keen senses caught. Their eyes met, a fleeting moment of recognition that sent shockwaves through Y/N's soul.

Adrienne's approach broke the spell, her footsteps a measured tempo that threatened to shatter the fragile moment. Y/N's heart raced as she quickly mouthed a plea to Natasha: run. It was a desperate gamble, an attempt to save Natasha from the web of darkness that had ensnared her.

Natasha's gaze flickered with a mix of confusion and urgency. She turned to flee, and Y/N's heart ached with both relief and sorrow. But as Natasha moved, Adrienne's voice sliced through the air.

"Y/N!"

In a heartbeat, everything changed. Adrienne's arms wrapped around Y/N, her lips claiming Y/N's in a possessive kiss. The laughter that followed was chilling, a sinister symphony that mocked the avengers' sanctuary and the bond that had once united them.

"We've infiltrated their safety," Adrienne's voice dripped with malice, her words a venomous promise of devastation. "Their trust in you, Y/N, has become their weakness."

Natasha's form grew smaller in the distance, her escape a bittersweet tableau of salvation and loss. Y/N was trapped, entangled in a dance of shadows with a partner whose embrace was as suffocating as it was intoxicating.

--

The battle raged on, a cacophony of chaos that echoed the conflict within Y/N's heart. Hydra clashed with the avengers, a symphony of destruction that left the compound trembling. The avengers fought valiantly, each blow they struck against Hydra exacting a heavy toll.

As the fight unfolded, Y/N was a shadow on the fringes, torn between two allegiances that seemed irreconcilable. She moved with precision, her blows calculated to cause damage but not enough to reveal her true intent. The avengers suffered, their ranks dwindling as they fought an enemy that seemed to know their every move.

But amidst the chaos, Y/N found herself stepping away, the weight of her choices pressing upon her. She was torn between two worlds, the avengers she had once fought beside and the Hydra that had ensnared her. Her breath came in ragged gasps as she struggled to reconcile the irreconcilable.

And then, a collision of fate. Adrienne crossed paths with Natasha, and a battle of wills erupted between them. Y/N's heart froze as she watched, her mind a whirlwind of conflicting loyalties. Adrienne and Natasha clashed, their blows a testament to the tangled web of darkness and love that bound them all.

"Please, Y/N, help us!" Natasha's voice cut through the chaos, a plea that echoed the anguish within her heart.

Adrienne's laughter was chilling, a symphony of malevolence that cut deep. "Oh, Y/N, do you hear her? She wants your help, just as she wanted your heart."

Y/N stood frozen, the weight of their words a suffocating grip. Her heart raced as the battle raged, the emotions within her a tempest that threatened to tear her apart. And then, something shifted within her, a glimmer of clarity breaking through the shadows.

The battlefield was a tapestry of chaos, painted with clashes of power and emotion. In the midst of the turmoil, Y/N's final confrontation with Adrienne was a bitter reminder of the complexities that had brought them to this point. Natasha Romanoff watched from a distance, her heart heavy with the weight of their history.

Y/N's fists landed with a mix of determination and desperation, each blow echoing with the pain of betrayal and manipulation. Adrienne's counterattacks were calculated and fierce, a display of the twisted bond that had once united them. Natasha fought her own battles nearby, her gaze never straying far from the scene unfolding before her.

Amidst the din of battle, snippets of conversation carried on the wind, revealing the tangled emotions that underscored this conflict.

"Adrienne, please… forgive me," Y/N's voice trembled as she knelt beside her fallen mentor.

Adrienne's feeble chuckle held a trace of sadness, her words fragile as they hung in the air. "Forgiveness, my dear, is a luxury we no longer have."

Natasha's heart clenched as she caught the exchange, a testament to the depth of their shared pain. Y/N's pleas and Adrienne's response painted a picture of a relationship that had been both destructive and intimate, a mix of emotions that defied simple categorization.

As Y/N's cries mingled with the tumultuous sounds of battle, Adrienne's voice grew fainter. "Y/N, you chose her in the end, didn't you? Natasha… she's your heart now."

Y/N's sobs filled the air, a poignant expression of her grief and regret. Adrienne's words were a bittersweet revelation, a confession that the emotions they had shared had never been one-sided. The battlefield seemed to blur around Natasha as she took in the scene, the echoes of their past echoing with every tear Y/N shed.

"Adrienne, I…" Y/N's voice cracked, her emotions too complex for words alone.

Adrienne's smile was weak but genuine, her eyes searching Y/N's face as if trying to convey something more profound. "It's okay, Y/N. I genuinely loved you, in my own way. But you've chosen your path, and I hope you find happiness with her."

As Adrienne's voice grew softer, Y/N's cries intensified, a cacophony of emotions that pierced the air. Natasha's heart ached as she bore witness to this final interaction, the admission of emotions and the weight of choices made.

But as the battle waged on around them, the scene shifted. Adrienne's strength waned further, her breaths becoming shallower. Her hand, cold against Y/N's cheek, seemed to tremble with the weight of their shared history. Her gaze locked onto Y/N's, a sadness and longing within her eyes.

"And you know, Y/N," Adrienne's voice was almost a whisper now, her words heavy with the weight of truth, "In my wildest dreams, I imagined a life for us beyond all this darkness. A life where we could be free."

Natasha's breath caught at Adrienne's words, a haunting reminder of the complexities that had once defined their relationship. Y/N's cries echoed, the sound a testament to the pain that had ultimately led them down separate paths.

As Adrienne's life slipped away, Y/N's sobs filled the air, carrying with them the tangled emotions that had defined this moment. Natasha watched in silence, her heart heavy with the knowledge that this confrontation marked not just an end, but a new chapter in Y/N's journey.

The battle continued, Y/N and Natasha finding a rhythm that balanced their strengths against the Hydra agents. With the knowledge Y/N possessed, they methodically weakened each opponent, ensuring that the avengers gained the upper hand.

As the last Hydra agent fell, Y/N's heart was a mixture of relief and sorrow. The compound was a battlefield of destruction, a testament to the havoc that darkness could wreak. Y/N stood beside Natasha, their breaths ragged as they surveyed the aftermath.

"You helped us, Y/N," Natasha's voice held a mixture of gratitude and understanding. "I don't know why, but thank you."

Y/N's gaze was steady, her voice a whisper that held the weight of a thousand confessions. "Because I had to. Because I couldn't let this darkness consume us all."

And as the smoke cleared and the sun began to rise, Y/N's path forward was uncertain, a journey that would demand reckoning and redemption in equal measure.

[arthropleuridea]

OK I’m gonna complain for complaining’s sake about why the native character polls are stressing me out to shit. up front this is my ~opinione~ im not expecting it to go very far i just want to be pissy about this and throw out allll my thoughts somewhere.

first a quote from adrienne keene: “native americans are only given choices of stereotypes and misrepresentation, or utter invisibility.”

and some statistics from Illuminative:

1. native american characters only make up between 0-0.04% of (primetime) TV & films

2. 72% of americans almost never encounter or seek out information about native americans

3. when searching “native american”, 95% of the first 100 google images are from the 19th century (<- and theyre all probably from fckng pinterest too)

--- so i hope those stats contextualize why watching a poll with a majority non-native audience 9 times out of 10 vote out all the native-written native-cast characters is like watching a car-wreck demonstration of allll these statistics and hyper-invisibility. 

OK here’s me being more annoyed:

1. letting non-native ppl suggest their idea of positive native characters to be voted on is straight up a bad idea (the majority of those characters are pretty clearly stereotypes or misrepresentation, especially the ones from fictitious tribes “based off of” real life ones. here’s another Illuminative resource on stereotypes). it makes the attitude of the poll less about celebrating characters that are positive indigenous representation and more about validating some white person’s indian blorbo. like if enough people submitted fckng chief wahoo would he be in the poll? he’s canonically indigenous after all, based on north american tribes

2. for that matter letting non-native people vote on the polls makes the entire thing feel pretty useless from an indigenous audience standpoint. like. the native voters’ opinions are gonna be absolutely washed out every time they vote against a super popular character from a super popular franchise (and part of the reason why said franchises are popular is because of the way they aestheticize and take from indigenous cultures to create a white-friendly simulation of native representation! fuck! @ atla btw). 

^ this is moreso about characters from native-produced tv/film/literature. like. i’m a film major and i never meet anyone non-native who’s seen smoke signals or any of the native TV or “classic” native american pop culture. disregarding actual quality of smoke signals (movie has a weirdly misogynistic aura etc.) any characters from like a classic native indie movie from the 90s are still going to lose by a landslide to a fucking disney movie or some shit. so we get to just watch examples of positive representation lose over and over again all day forever

i think they deleted this post but this is a pretty clear representation of the voter audience on the blog:

LIKE first of all, designing polls and statistics to reach a primarily indigenous sample is already a complicated and careful issue, so witnessing this is pretty funny tbh. second of all you say “don’t vote if ur not native”, then have 175 out of 216 people vote anyway, so ppl here are reallyyy itching to press buttons ig. third of all this just reminds me of those washington r-dskin polls and polling error there -- what’s stopping non-native ppl who reallllly love piper or chakotay from hitting that “keep the poll” button?? lastly the fact that this was enough to keep the poll going anyway despite both characters being Absolute Misrepresentation Nightmares reflects a kind of disregard on the actual representation value of these characters (the people have spoken. we must keep the stereotypes)

3. listen this is just another nuance detail which is framed by the constant disrespect of native american people, ancestors, iconography, etc. (see: mascots), but. man like pitting native-written native-acted characters against like. an echidna. and watching them lose. it makes me Feel some things. i’m talking about bear smallhill but the whole night at the museum thing is weird too tbh 

it also means we can’t have meaningful conversations about the actual value of these native-made shows as positive or negative indigenous representation, like instead of talking about the antiBlackness and lack of Black native characters in rez dogs (a complete misrepresentation and invisibility of a large group in native community in oklahoma) we have to watch the native shows fight for their lives against fckng fictional-tribe aestheticizations, noble/magic indian, tragic drunk/abused indian; white-written characters who appeal to non-native misperceptions of Indigeneity and are part of the problem that is keeping native ppl so invisible in popular culture.

like idk. watch reel injun or something. a small simple thing turns out to be a very complicated nuanced thing that can have deep impact on the people it’s supposedly about or for

[the-cosmos-withinus]

hi! please do not use the word w*****go! it's a spirit whose name youre not supposed to say due to it being a bad omen, but its been appropriated and watered down for ages

Hello, please STOP. SPREADING. MISINFORMATION. And while you're at it stop assuming that I haven't done my research and am trying to portray an accurate, respectful depiction.

I don't know if you're the same Anon as before, but I've already spoken my piece about this and have said I will not answer any more asks regarding it, but I thought out another point.

I have found no sources from natives claiming its offensive outside of Hollywood misrepresentation, which my use is not based on. I draw my inspiration from actual Native Folklore, of which there are varying accounts depending on which culture the stories originate from. In fact, it seems to me that telling that you're not supposed to use the word is actually distracting from the moral lesson that the Wendigo myths warn of (which is incidentally why the pop culture version is offensive, it misses the point).

Here's an excerpt from the book Columbus and other Cannibals (2008) by Dr. Jack D. Forbes a Native American scholar, historian political activist and writer, giving his personal insights on the Wendigo which is one of my main sources of inspiration in my portrayal.

"Wétiko (Wendigo) is a Cree term...which refers to a cannibal or, more specifically, to an evil person or spirit who terrorizes other creatures by means of terrible evil acts, including cannibalism… I have come to the conclusion that imperialism and exploitation are forms of cannibalism and, in fact, are precisely those forms of cannibalism which are most diabolical or evil… It should be understood that wétikos do not eat other humans only in a symbolic sense. The deaths of tens of millions of Jews, Slavs, etc., at the hands of the Nazis, the deaths of tens of millions of blacks in slavery days, the deaths of up to 30 million or more Indians in the 1500s, the terribly short life spans of Mexican Indian farm workers in the US, and of Native Americans generally today, the high death rates in the early industrial centers among factory workers, and so on, all clearly attest to the fact that the wealthy and exploitative literally consume the lives of those that they exploit. That, I would affirm, is truly and literally cannibalism, and it is cannibalism accompanied by no spiritually meaningful ceremony or ritual.”

Sound familiar?

However, this all considered, there's another Entity from Navajo folklore that is confused with the Wendigo a ridiculous amount of times, referred to as the Skinwalker. I haven't read up on what is known about Navajo beliefs recently, but if I remember right, Skin-Walker is the term used to avoid using its true name. It is similar to the Wendigo in that it is an evil entity that used to be human, some times associated with cannibalism, and has some of the traits that commonly associated with the Wendigo. But there isn't much known about Skinwalkers because the Navajo people do keep their culture fairly private. Adrienne Keene, another Native scholar and activist is even quoted on Wikipedia about her response to non-natives using the Skin-Walker in their stories.

Do some damn research.

[music-despite-everything]

Happy birthday, Adrienne Rich!

Adrienne Cecile Rich, born May 16, 1929, in Baltimore, Maryland, and died March 27, 2012, in Santa Cruz, California, was an American poet, essayist, and feminist. She was called "one of the most widely read and influential poets of the second half of the 20th century", and was credited with bringing "the oppression of women and lesbians to the forefront of poetic discourse." Rich criticized rigid forms of feminist identities and valorized what she coined the "lesbian continuum," which is a female continuum of solidarity and creativity that impacts and fills women's lives.

Her first collection of poetry, A Change of World, was selected by renowned poet W. H. Auden for the Yale Series of Younger Poets Award. Auden went on to write the introduction to the published volume. She famously declined the National Medal of Arts, protesting the vote by House Speaker Newt Gingrich to end funding for the National Endowment for the Arts.

---

Snapshots of a Daughter-in-Law, 1963

1

You, once a belle in Shreveport, with henna-colored hair, skin like a peach bud, still have your dresses copied from that time, and play a Chopin prelude called by Cortot: "Delicious recollections float like perfume through the memory." Your mind now, moldering like wedding-cake, heavy with useless experience, rich with suspicion, rumor, fantasy, crumbling to pieces under the knife-edge of mere fact. In the prime of your life. Nervy, glowering, your daughter wipes the teaspoons, grows another way. 2 Banging the coffee-pot into the sink she hears the angels chiding, and looks out past the raked gardens to the sloppy sky. Only a week since They said: Have no patience. The next time it was: Be insatiable. Then: Save yourself; others you cannot save. Sometimes she's let the tap stream scald her arm, a match burn to her thumbnail, or held her hand above the kettle's snout right in the woolly steam. They are probably angels, since nothing hurts her anymore, except each morning's grit blowing into her eyes.

3 A thinking woman sleeps with monsters. The beak that grips her, she becomes. And Nature, that sprung-lidded, still commodious steamer-trunk of tempora and mores gets stuffed with it all: the mildewed orange-flowers, the female pills, the terrible breasts of Boadicea beneath flat foxes' heads and orchids. Two handsome women, gripped in argument, each proud, acute, subtle, I hear scream across the cut glass and majolica like Furies cornered from their prey: The argument ad feminam, all the old knives that have rusted in my back, I drive in yours, ma semblable, ma soeur! 4 Knowing themselves too well in one another: their gifts no pure fruition, but a thorn, the prick filed sharp against a hint of scorn... Reading while waiting for the iron to heat, writing, My Life had stood--a Loaded Gun-- in that Amherst pantry while the jellies boil and scum, or, more often, iron-eyed and beaked and purposed as a bird, dusting everything on the whatnot every day of life.

5 Dulce ridens, dulce loquens, she shaves her legs until they gleam like petrified mammoth-tusk. 6 When to her lute Corinna sings neither words nor music are her own; only the long hair dipping over her cheek, only the song of silk against her knees and these adjusted in reflections of an eye. Poised, trembling and unsatisfied, before an unlocked door, that cage of cages, tell us, you bird, you tragical machine-- is this fertillisante douleur? Pinned down by love, for you the only natural action, are you edged more keen to prise the secrets of the vault? has Nature shown her household books to you, daughter-in-law, that her sons never saw?

7 "To have in this uncertain world some stay which cannot be undermined, is of the utmost consequence." Thus wrote a woman, partly brave and partly good, who fought with what she partly understood. Few men about her would or could do more, hence she was labeled harpy, shrew and whore. 8 "You all die at fifteen," said Diderot, and turn part legend, part convention. Still, eyes inaccurately dream behind closed windows blankening with steam. Deliciously, all that we might have been, all that we were--fire, tears, wit, taste, martyred ambition-- stirs like the memory of refused adultery the drained and flagging bosom of our middle years. 9 Not that it is done well, but that it is done at all? Yes, think of the odds! or shrug them off forever. This luxury of the precocious child, Time's precious chronic invalid,-- would we, darlings, resign it if we could? Our blight has been our sinecure: mere talent was enough for us-- glitter in fragments and rough drafts. Sigh no more, ladies. Time is male and in his cups drinks to the fair. Bemused by gallantry, we hear our mediocrities over-praised, indolence read as abnegation, slattern thought styled intuition, every lapse forgiven, our crime only to cast too bold a shadow or smash the mold straight off. For that, solitary confinement, tear gas, attrition shelling. Few applicants for that honor. 10 Well, she's long about her coming, who must be more merciless to herself than history. Her mind full to the wind, I see her plunge breasted and glancing through the currents, taking the light upon her at least as beautiful as any boy or helicopter, poised, still coming, her fine blades making the air wince but her cargo no promise then: delivered palpable ours.

[ambrosiafm]

come on, 𝒈𝒓𝒂𝒃 𝒔𝒐𝒎𝒆 𝒂𝒎𝒃𝒓𝒐𝒔𝒊𝒂, and let the nectar flow! take a load off! — accepted! please familiarize yourself with the guidelines, plot, and lore. join the discord link from the pinned post within 24 hours or your roles will be reopened. welcome to 𝘬𝘦𝘧𝘪, 𝘮𝘰𝘯𝘵𝘢𝘯𝘢, india st. james, adrienne pallor. alyssa stephens [ latto ], holly pedlar is now taken. when you join the discord make sure to change your user to the alias you applied with!

⧼    alyssa stephens,  cis woman,  she/her,  25.⧽    get right by jennifer lopez  +  wild honey blonde curls, loud boisterous laughter, perfectly timed background comments.  ☼  INDIA ST. JAMES survived the second titan war, but just barely! nowadays they’re a magazine editor and are known to be alluring & temperamental, makes sense given they’re a CHILD OF APHRODITE / LEGACY OF ARES. word around town is that they’ve been here for three years and HAS AN EXTENSIVE COLLECTION OF DVDS, is it true? it’s probably just gossip. whenever you see them around town they have their portfolio of hand drawn magazine covers.    [    dreamy, 23, cst, she/her, n/a    ]

⧼    holly pedlar,  cis woman,  she/her,  22.⧽    church girl by beyonce  +  simple strings of pearls, neatly tucked buns, aloof interactions.  ☼  ADRIENNE PALLOR survived the second titan war, but just barely! nowadays they’re a career and are known to be keen & closed-minded, makes sense given they’re a CHILD OF APOLLO / HUNTER OF ARTEMIS. word around town is that they’ve been here for 22 years and SILENTLY WISHES SHE NEVER JOINED THE HUNT, is it true? it’s probably just gossip. whenever you see them around town they have their golden anklet.    [    dreamy, 23, cat, she/her, n/a    ]

[primeprofitmedia]

Is Basketball Player Aaron Dotson Migos Rapper, Takeoff?

Born in 1991, Aaron Dotson is a 32-year-old famous and talented basketball player well-known in the sports industry. However, over the last few months, he has been in the top headlines not because of his game but for some other reason. The Internet is loaded with various videos that claim Aaron Dotson and the late rapper Takeoff is one. Yes, you read that right!

Many people find the basketball player and the rapper the same person. That’s strange, right? However, before we dive deeper and solve the mystery. Let’s get to know each personality separately.

So, without wasting much time, let’s get started.

Who is Aaron Dotson?

If you are a big fan of basketball, then you must have heard of Aaron Dotson. Landed on the planet on March 31, 1991, Aaron is a well-known American basketball player. He was born to Anthony St. and Adrienne Dotson in Seattle, Washington State. He is not the only son of his parents.

He has one younger sibling, Averi, and one elder brother named Anthony Jr. Aaron is often referred to by using his initials A.D. Talking about his studies, he completed his schooling at Garfield High School in Seattle. Since his childhood only, he had a keen interest in sports and wanted to pursue a career in basketball.

With so many years of hard work, immense dedication, and effort, Aaron achieved a big name in the sports world. Throughout his journey, he has received multiple offers for several programs to excel and grow in his sports career. The 32-year-old basketball player is best known for his passing, rebounding, and scoring skills in the game. He is also famous as an excellent shooter. Currently, Aaron is an available agent and is free to sign with any team.

Who is Takeoff?

Born in 1994, Kirsnick Khari Ball, professionally popular as Takeoff was an American rapper. Takeoff was a significant and celebrated name in the music industry. He was well-known and recognized as the youngest member of the American hip-hop group Migos. The trio group included Takeoff along with his uncle, Quavo, and cousin, Offset.

The group achieved various top-10 hits on the Billboard Hot 100 including Stir Fry, MotorSport, and Walk It Talk It just to name a few. The late rapper even won nominations for Grammy Awards. However, his sudden news of death came like a bolt from the blue for the entire music industry. It was on November 1, 2022, when he was brutally shot multiple times in the head and torso in Houston, Texas.

The unfortunate incident happened after an argument took place between groups assembled outside the venue, with a minimum of 2 gunshots being fired. The loss of such a budding and successful rapper shocked his fans and other people around the world.

Are Aaron Dotson & the Rapper Takeoff the Same Person?

This is one of the questions that have been trending on the internet and social media platforms since the death of the rapper and member of the Migos group. In fact, many TikTok videos claimed that the basketball player and the rapper are one. Many people are curious to know if Aaron is Takeoff himself because of their strong resemblance with one another.

The news Aaron Dotson is Takeoff created buzz and went viral after the American singer, actor, and rapper Orlando Brown mentioned in an interview that Takeoff is Aaron Dotson and he is living a good life in Atlanta. When Orlando was asked to explain his statement, he further mentioned that people should Google Aaron to see Takeoff in his eyes.

He further added that Takeoff was frustrated with his current life and that’s the reason he opted for a new form. Orlando also stated that Takeoff circulated the fake news of his death.

While many people accepted the claim that Aaron is Takeoff, some still are doubtful because both personalities were born and raised in different locations…Read More

Source: Prime Profit Media