#also the us after the late 1970s

[asagi-asagiri]

“Hard times create strong men” is the dumbest cope.

[fagrackham]

i get rambunctious abt architecture

[yeoldenews]

A Guide to Historically Accurate Regency-Era Names

I recently received a message from a historical romance writer asking if I knew any good resources for finding historically accurate Regency-era names for their characters.

Not knowing any off the top of my head, I dug around online a bit and found there really isn’t much out there. The vast majority of search results were Buzzfeed-style listicles which range from accurate-adjacent to really, really, really bad.

I did find a few blog posts with fairly decent name lists, but noticed that even these have very little indication as to each name’s relative popularity as those statistical breakdowns really don't exist.

I began writing up a response with this information, but then I (being a research addict who was currently snowed in after a blizzard) thought hey - if there aren’t any good resources out there why not make one myself?

As I lacked any compiled data to work from, I had to do my own data wrangling on this project. Due to this fact, I limited the scope to what I thought would be the most useful for writers who focus on this era, namely - people of a marriageable age living in the wealthiest areas of London.

So with this in mind - I went through period records and compiled the names of 25,000 couples who were married in the City of Westminster (which includes Mayfair, St. James and Hyde Park) between 1804 to 1821.

So let’s see what all that data tells us…

To begin - I think it’s hard for us in the modern world with our wide and varied abundance of first names to conceive of just how POPULAR popular names of the past were.

If you were to take a modern sample of 25-year-old (born in 1998) American women, the most common name would be Emily with 1.35% of the total population. If you were to add the next four most popular names (Hannah, Samantha, Sarah and Ashley) these top five names would bring you to 5.5% of the total population. (source: Social Security Administration)

If you were to do the same survey in Regency London - the most common name would be Mary with 19.2% of the population. Add the next four most popular names (Elizabeth, Ann, Sarah and Jane) and with just 5 names you would have covered 62% of all women.

To hit 62% of the population in the modern survey it would take the top 400 names.

The top five Regency men’s names (John, William, Thomas, James and George) have nearly identical statistics as the women’s names.

I struggled for the better part of a week with how to present my findings, as a big list in alphabetical order really fails to get across the popularity factor and also isn’t the most tumblr-compatible format. And then my YouTube homepage recommended a random video of someone ranking all the books they’d read last year - and so I present…

The Regency Name Popularity Tier List

The Tiers

S+ - 10% of the population or greater. There is no modern equivalent to this level of popularity. 52% of the population had one of these 7 names.

S - 2-10%. There is still no modern equivalent to this level of popularity. Names in this percentage range in the past have included Mary and William in the 1880s and Jennifer in the late 1970s (topped out at 4%).

A - 1-2%. The top five modern names usually fall in this range. Kids with these names would probably include their last initial in class to avoid confusion. (1998 examples: Emily, Sarah, Ashley, Michael, Christopher, Brandon.)

B - .3-1%. Very common names. Would fall in the top 50 modern names. You would most likely know at least 1 person with these names. (1998 examples: Jessica, Megan, Allison, Justin, Ryan, Eric)

C - .17-.3%. Common names. Would fall in the modern top 100. You would probably know someone with these names, or at least know of them. (1998 examples: Chloe, Grace, Vanessa, Sean, Spencer, Seth)

D - .06-.17%. Less common names. In the modern top 250. You may not personally know someone with these names, but you’re aware of them. (1998 examples: Faith, Cassidy, Summer, Griffin, Dustin, Colby)

E - .02-.06%. Uncommon names. You’re aware these are names, but they are not common. Unusual enough they may be remarked upon. (1998 examples: Calista, Skye, Precious, Fabian, Justice, Lorenzo)

F - .01-.02%. Rare names. You may have heard of these names, but you probably don’t know anyone with one. Extremely unusual, and would likely be remarked upon. (1998 examples: Emerald, Lourdes, Serenity, Dario, Tavian, Adonis)

G - Very rare names. There are only a handful of people with these names in the entire country. You’ve never met anyone with this name.

H - Virtually non-existent. Names that theoretically could have existed in the Regency period (their original source pre-dates the early 19th century) but I found fewer than five (and often no) period examples of them being used in Regency England. (Example names taken from romance novels and online Regency name lists.)

Just to once again reinforce how POPULAR popular names were before we get to the tier lists - statistically, in a ballroom of 100 people in Regency London: 80 would have names from tiers S+/S. An additional 15 people would have names from tiers A/B and C. 4 of the remaining 5 would have names from D/E. Only one would have a name from below tier E.

Women's Names

S+ Mary, Elizabeth, Ann, Sarah      

S - Jane, Mary Ann+, Hannah, Susannah, Margaret, Catherine, Martha, Charlotte, Maria

A - Frances, Harriet, Sophia, Eleanor, Rebecca

B - Alice, Amelia, Bridget~, Caroline, Eliza, Esther, Isabella, Louisa, Lucy, Lydia, Phoebe, Rachel, Susan

C - Ellen, Fanny*, Grace, Henrietta, Hester, Jemima, Matilda, Priscilla

D - Abigail, Agnes, Amy, Augusta, Barbara, Betsy*, Betty*, Cecilia, Christiana, Clarissa, Deborah, Diana, Dinah, Dorothy, Emily, Emma, Georgiana, Helen, Janet^, Joanna, Johanna, Judith, Julia, Kezia, Kitty*, Letitia, Nancy*, Ruth, Winifred>

E - Arabella, Celia, Charity, Clara, Cordelia, Dorcas, Eve, Georgina, Honor, Honora, Jennet^, Jessie*^, Joan, Joyce, Juliana, Juliet, Lavinia, Leah, Margery, Marian, Marianne, Marie, Mercy, Miriam, Naomi, Patience, Penelope, Philadelphia, Phillis, Prudence, Rhoda, Rosanna, Rose, Rosetta, Rosina, Sabina, Selina, Sylvia, Theodosia, Theresa

F - (selected) Alicia, Bethia, Euphemia, Frederica, Helena, Leonora, Mariana, Millicent, Mirah, Olivia, Philippa, Rosamund, Sybella, Tabitha, Temperance, Theophila, Thomasin, Tryphena, Ursula, Virtue, Wilhelmina

G - (selected) Adelaide, Alethia, Angelina, Cassandra, Cherry, Constance, Delilah, Dorinda, Drusilla, Eva, Happy, Jessica, Josephine, Laura, Minerva, Octavia, Parthenia, Theodora, Violet, Zipporah

H - Alberta, Alexandra, Amber, Ashley, Calliope, Calpurnia, Chloe, Cressida, Cynthia, Daisy, Daphne, Elaine, Eloise, Estella, Lilian, Lilias, Francesca, Gabriella, Genevieve, Gwendoline, Hermione, Hyacinth, Inez, Iris, Kathleen, Madeline, Maude, Melody, Portia, Seabright, Seraphina, Sienna, Verity

Men's Names

S+ John, William, Thomas

S - James, George, Joseph, Richard, Robert, Charles, Henry, Edward, Samuel

A - Benjamin, (Mother’s/Grandmother’s maiden name used as first name)#

B - Alexander^, Andrew, Daniel, David>, Edmund, Francis, Frederick, Isaac, Matthew, Michael, Patrick~, Peter, Philip, Stephen, Timothy

C - Abraham, Anthony, Christopher, Hugh>, Jeremiah, Jonathan, Nathaniel, Walter

D - Adam, Arthur, Bartholomew, Cornelius, Dennis, Evan>, Jacob, Job, Josiah, Joshua, Lawrence, Lewis, Luke, Mark, Martin, Moses, Nicholas, Owen>, Paul, Ralph, Simon

E - Aaron, Alfred, Allen, Ambrose, Amos, Archibald, Augustin, Augustus, Barnard, Barney, Bernard, Bryan, Caleb, Christian, Clement, Colin, Duncan^, Ebenezer, Edwin, Emanuel, Felix, Gabriel, Gerard, Gilbert, Giles, Griffith, Harry*, Herbert, Humphrey, Israel, Jabez, Jesse, Joel, Jonas, Lancelot, Matthias, Maurice, Miles, Oliver, Rees, Reuben, Roger, Rowland, Solomon, Theophilus, Valentine, Zachariah

F - (selected) Abel, Barnabus, Benedict, Connor, Elijah, Ernest, Gideon, Godfrey, Gregory, Hector, Horace, Horatio, Isaiah, Jasper, Levi, Marmaduke, Noah, Percival, Shadrach, Vincent

G - (selected) Albion, Darius, Christmas, Cleophas, Enoch, Ethelbert, Gavin, Griffin, Hercules, Hugo, Innocent, Justin, Maximilian, Methuselah, Peregrine, Phineas, Roland, Sebastian, Sylvester, Theodore, Titus, Zephaniah

H - Albinus, Americus, Cassian, Dominic, Eric, Milo, Rollo, Trevor, Tristan, Waldo, Xavier

# Men were sometimes given a family surname (most often their mother's or grandmother's maiden name) as their first name - the most famous example of this being Fitzwilliam Darcy. If you were to combine all surname-based first names as a single 'name' this is where the practice would rank.

*Rank as a given name, not a nickname

+If you count Mary Ann as a separate name from Mary - Mary would remain in S+ even without the Mary Anns included

~Primarily used by people of Irish descent

^Primarily used by people of Scottish descent

>Primarily used by people of Welsh descent

I was going to continue on and write about why Regency-era first names were so uniform, discuss historically accurate surnames, nicknames, and include a little guide to finding 'unique' names that are still historically accurate - but this post is already very, very long, so that will have to wait for a later date.

If anyone has any questions/comments/clarifications in the meantime feel free to message me.

Methodology notes: All data is from marriage records covering six parishes in the City of Westminster between 1804 and 1821. The total sample size was 50,950 individuals.

I chose marriage records rather than births/baptisms as I wanted to focus on individuals who were adults during the Regency era rather than newborns. I think many people make the mistake when researching historical names by using baby name data for the year their story takes place rather than 20 to 30 years prior, and I wanted to avoid that. If you are writing a story that takes place in 1930 you don’t want to research the top names for 1930, you need to be looking at 1910 or earlier if you are naming adult characters.

I combined (for my own sanity) names that are pronounced identically but have minor spelling differences: i.e. the data for Catherine also includes Catharines and Katherines, Susannah includes Susannas, Phoebe includes Phebes, etc.

The compound 'Mother's/Grandmother's maiden name used as first name' designation is an educated guesstimate based on what I recognized as known surnames, as I do not hate myself enough to go through 25,000+ individuals and confirm their mother's maiden names. So if the tally includes any individuals who just happened to be named Fitzroy/Hastings/Townsend/etc. because their parents liked the sound of it and not due to any familial relations - my bad.

I did a small comparative survey of 5,000 individuals in several rural communities in Rutland and Staffordshire (chosen because they had the cleanest data I could find and I was lazy) to see if there were any significant differences between urban and rural naming practices and found the results to be very similar. The most noticeable difference I observed was that the S+ tier names were even MORE popular in rural areas than in London. In Rutland between 1810 and 1820 Elizabeths comprised 21.4% of all brides vs. 15.3% in the London survey. All other S+ names also saw increases of between 1% and 6%. I also observed that the rural communities I surveyed saw a small, but noticeable and fairly consistent, increase in the use of names with Biblical origins.

Sources of the records I used for my survey: 

Ancestry.com. England & Wales Marriages, 1538-1988 [database on-line].

Ancestry.com. Westminster, London, England, Church of England Marriages and Banns, 1754-1935 [database on-line].

[hotvintagepoll]

Propaganda

Marlene Dietrich (Shanghai Express, Witness for the Prosecution, Morocco)—Bisexual icon, super hot when dressed both masculine and feminine, lived up her life in the queer Berlin scene of the 1920s, central to the 'sewing circle' of the secret sapphic actresses of Old Hollywood, refused lucrative offers by the Nazis and helped Jews and others under persecution to escape Nazi Germany, the love of my life

Sophia Loren (Marriage Italian Style, Houseboat)—Major Italian star, first actress to win an Oscar for a performance not in English (for Two Women (1960)) and later when Roberto Benigni won an Oscar in 1999 he jumped over the chairs towards the stage going "Sophia Sophia!!" because he was running towards Sophia Loren and said he cared more about her than the Oscar, that's the effect she had on people. She was big in the 60s already even though she gained a lot more notoriety after that. And I mean. Can we take a moment and just.

This is round 6 of the tournament. All other polls in this bracket can be found here. Please reblog with further support of your beloved hot sexy vintage woman.

[additional propaganda submitted under the cut.]

Sophia Loren:

She has maxed out all her stats: beauty, elegance, sensuality, she's got it all. her mesmerizing eyes, her sensual mouth, her sharp face shape, her everything is so striking and unlike any other beauty in films. she was also voted the world most beautiful woman when she was freaking 65

im submitting her in honor of my dad bc she was the first celebrity crush of his he ever admitted to me and my sister :) and he was right. shes so pretty

OSCAR WINNER. Worked with some of the hottest leading men in Hollywood but remained faithful to her husband whom she had a loving marriage with till he died (even though Cary Grant almost tempted her once, it's complicated)

One of the most well-known sex symbols of the Golden Age of Hollywood, and unlike some unfortunate others, she seems to have been pretty well at peace with occupying that status. She made assertiveness and a tempestuous temper seem glamorous, and although she's famous for side-eying Jayne Manisfield's cleavage, honestly? She's one to talk.

Absolutely, drop-dead sexy, also a hard working, extraordinarily talented actress who didn't shy away from the less glamorous roles to gift us some gritty, memorable performances

Submitting this on behalf of my dad, who knows nothing of tumblr or this blog, but I remember being a kid watching Houseboat while my mom thirsted after Cary Grant, dad thirsted after Sophia Loren, and I was excited that they lived on a boat. Anyway, she's extremely beautiful and was an international star, doing a ton of movies in Italy before being recognized in the US.

JUST LOOK AT HER Y'ALL

Very smart and beautiful, the characters that she played (I mean those in the movies that I put in the previous question) are as strong and determined as her which I think adds to her hotness.

Global superstar and my late grandfather's long time movie star crush and for a man as quiet as he was, and as hopelessly devoted to his wife as he was, the fact that I know that means she was EXCEPTIONAL.

Big in the chest, snatched in the waist, pretty in the face 😳

Sexy, beautiful, deep. A real star.

Her performance in "Man of La Mancha" is just so very captivating. Dubbed as "the Italian Marilyn Monroe", she looks beautiful in any movie and at any age.

Forget the exotic sexpot of her Hollywood films and go back to her Italian career: sparking with Marcello Mastroianni as the woman who drives him mad and outwits all his fumbling attempts at macho posturing in their early films, and showing a tender side in their 1970s films. Sophia isn’t self-conscious about who she is or her beautiful body: she enjoys being herself and she wants us all to enjoy ourselves too.

She starred in films as a sexually emancipated persona and was one of the best known sex symbols of the time. She is a great cook and her filmography is immense.

On the misattributed quote that Sophia owed everything to spaghetti: 'Did you actually say the quote frequently attributed to you, "Everything you see I owe to spaghetti"?' "Non è vero! It's not true! It's such a silly thing. I owe it to spaghetti, no, no. Completely made up."

Marlene Dietrich:

ms dietrich....ms dietrich pls.....sit on my face

its marlene dietrich!!!! queer legend, easily the hottest person to ever wear a tuxedo, that hot hot voice, those glamorous glamorous movies…. most famously she starred in a string of movies directed by josef von sternberg throughout the 1930s, beginning with the blue angel which catapulted her to stardom in the role of the cabaret singer lola lola. known for his exquisite eye for lighting, texture, imagery, von sternberg devoted himself over the course of their collaborations to acquiring exceptional skill at photographing dietrich herself in particular, a worthy direction in which to expend effort im sure we can all agree. she collaborated with many other great directors of the era as well, including rouben mamoulian (song of songs), frank borzage (desire), ernst lubitsch (angel), fritz lang (rancho notorious), and billy wilder (witness for the prosecution). the encyclopedia britannica entry im looking at while compiling this propaganda describes her as having an “aura of sophistication and languid sexuality” which✔️💯. born marie magdalene dietrich, she combined her first and middle names to coin the moniker “marlene”. she was a trendsetter in her incorporation of trousers, suits, and menswear into her wardrobe and her androgynous allure was often remarked upon. critic kenneth tynan wrote, “She has sex, but no particular gender. She has the bearing of a man; the characters she plays love power and wear trousers. Her masculinity appeals to women and her sexuality to men.” in the 1920s she enjoyed the vibrant queer nightlife of weimar berlin, visiting gay bars and drag balls, and in hollywood her love affairs with men and women were an open secret. she was an ardent opponent of nazi germany, refusing lucrative contacts offered her to make films there, raising money with billy wilder to help jews and dissidents escape, and undertaking extensive USO tours to entertain soldiers with an act that included her a playing musical saw and doing a mindreading routine she learned from orson welles. starting in the 50s and continuing into the mid-70s she worked largely as a cabaret artist touring the world to large audiences, employing burt bacharach as her musical arranger.

First of all, there are those publicity photos of her in a tux. Second of all, I have never been the same since knowing that she sent copies of those photos to her Berlin lovers signed "Daddy Marlene." Not only is she hot in all circumstances, but she can do everything from earthy to ice queen. Also, she kept getting sexy romantic lead parts in Hollywood after the age of 40, which would be rare even now. She hated Nazis, loved her friends, and had a sapphic social circle in Hollywood. She also had cheekbones that could cut glass and a voice that could melt you.

Her GENDER her looks her voice her everything

“In her films and record-breaking cabaret performances, Miss Dietrich artfully projected cool sophistication, self-mockery and infinite experience. Her sexuality was audacious, her wit was insolent and her manner was ageless. With a world-weary charm and a diaphanous gown showing off her celebrated legs, she was the quintessential cabaret entertainer of Weimar-era Germany.”

The bar scene in Morocco awoke something in me and ultimately changed my gender

"Her manner, the critic Kenneth Tynan wrote, was that of ‘a serpentine lasso whereby her voice casually winds itself around our most vulnerable fantasies.’ Her friend Maurice Chevalier said: ‘Dietrich is something that never existed before and may never exist again.’”

"Songstress, photographer, fashion icon, out bisexual phenom (notoriously stole Lupe Velez and Joan Crawford's men, and Errol Flynn's wife, had a torrid affair with Greta Garbo that ended in a 60-year feud, other notable conquests including Erich Maria Remarque -yes, the guy who wrote All Quiet on the Western Front- Douglas Fairbanks Junior, Claudette Colbert, Mercedes de Acosta, Edith Piaf), anti-Nazi activist. Marlene was a bitch - she had an open marriage for decades and one of her favorite things was making catty commentary about her current lover with her husband, and her relationship with her daughter was painful- but she was also immensely talented, a hard worker, an opponent of fascism and the hottest ice queen in Hollywood for a long time."

"She can sing! She can act! She told the Nazis to fuck off and became a US citizen out of spite! She worked with other German exiles to create a fund to help Jews and German dissidents escape (she donated an entire movie salary, about $450k, to the cause). She looks REALLY GOOD in a suit. If you're not convinced, please listen to her sing "Lili Marlene". Absolutely gorgeous woman with a gorgeous voice."

Gifset link

"Bisexual icon and Nazi-hater. Looks absolutely stunning in the suits she liked to wear. 'I dress for the image. Not for myself, not for the public, not for fashion, not for men'."

"would you not let her walk on you?"

[sarkos]

Student debt also largely didn’t exist in America before the Reagan Revolution. It was created by Republicans here in the 1980s — intentionally — and if we can overcome Republican opposition, we can intentionally end it here and join the rest of the world in once again benefiting from an educated populace. Forty years on from the Reagan Revolution, student debt has crippled three generations of young Americans: over 44 million people carry the burden, totaling a $2+ trillion drag on our economy that benefits nobody except the banks earning interest on the debt and the politicians they pay off. But that doesn’t begin to describe the damage student debt has done to America since Reagan, in his first year as governor of California, ended free tuition at the University of California and cut state aid to that college system by 20 percent across-the-board. After having destroyed low income Californians’ ability to get a college education in the 1970s, Reagan then took his anti-education program national as president in 1981. When asked why he’d taken a meat-axe to higher education and was pricing college out of the reach of most Americans, he said, much like Ted Cruz might today, that college students were “too liberal” and America “should not subsidize intellectual curiosity.” It was the 1980s version of today’s “war on woke”: Reagan hated college students. On May 1, 1970, Governor Reagan announced that students protesting the Vietnam war across America were “brats,” “freaks” and “cowardly fascists,” adding, as The New York Times noted at the time: “If it takes a bloodbath, let’s get it over with. No more appeasement!” Four days later four were dead at Kent State, having been murdered by National Guard riflemen using live ammunition against anti-war protesters. Before Reagan became president, states paid 65 percent of the costs of colleges, and federal aid covered another 15 or so percent, leaving students to cover the remaining 20 percent with their tuition payments. It’s why when I attended college in the late 1960s — before Reagan — I could pay my tuition working a weekend job as a DJ at a local radio station and washing dishes at Bob’s Big Boy restaurant on Trowbridge Road in East Lansing.

The real reason Republicans oppose efforts to cancel student debt - Raw Story

[wheelsgoroundincircles]

1979 Pontiac Firebird

The 1979 Pontiac Firebird stands as a symbol of the late 1970s American muscle car era, a time when bold styling and performance were key selling points. The Firebird, produced by Pontiac from 1967 to 2002, had evolved significantly by the time it reached its 1979 iteration, marking one of its most memorable and iconic versions.

The 1979 Firebird came in several models, including the base Firebird, the luxurious Esprit, the sporty Formula, and the high-performance Trans Am. Each model had its unique appeal, but the Trans Am was undoubtedly the star of the lineup. Known for its aggressive styling, the Trans Am featured a distinctive "screaming chicken" hood decal, a hallmark that became synonymous with the Firebird brand. This large, flamboyant decal stretched across the hood, making an unmistakable statement about the car’s performance pedigree.

Under the hood, the 1979 Firebird offered a range of engine options. The base models came with a 3.8-liter V6 or a 4.9-liter V8, while the more performance-oriented Trans Am could be equipped with a 6.6-liter V8 engine, known as the "403" for its cubic inch displacement. This engine produced 185 horsepower, a respectable figure for the era, and provided the Trans Am with a powerful and throaty exhaust note that thrilled enthusiasts.

The interior of the 1979 Firebird was designed with both comfort and style in mind. The cockpit-style dashboard was driver-focused, with gauges and controls angled towards the driver for ease of use. Bucket seats, often upholstered in vinyl or optional cloth, provided a sporty feel, while the T-top roof, available on the Trans Am, allowed for an open-air driving experience that was perfect for cruising on sunny days.

In addition to its performance and styling, the 1979 Firebird also benefited from the popularity it gained through pop culture. The Firebird Trans Am was famously featured in the 1977 film "Smokey and the Bandit," starring Burt Reynolds. This movie immortalized the Trans Am as a symbol of rebellious spirit and high-speed chases, further cementing its status as a cultural icon.

Despite the challenges of the late 1970s, including increasing emissions regulations and the oil crisis, the 1979 Pontiac Firebird managed to uphold the spirit of the muscle car. Its blend of striking design, performance capabilities, and cultural significance make it a beloved classic among car enthusiasts. Today, well-preserved and restored Firebirds from 1979 are highly sought after by collectors, serving as a reminder of a bygone era of American automotive history where style and performance reigned supreme.

The legacy of the 1979 Pontiac Firebird continues to inspire car lovers, and its presence in the automotive world remains strong, a testament to its enduring appeal and the indelible mark it left on the muscle car landscape.

[metamorphesque]

Monte Melqonyan/Մոնթե Մելքոնյան (1957-1993)

Honestly, I don't even know where to begin. He's one of those extraordinary individuals about whom countless books could be written and numerous movies could be made, yet still, so much would remain untold. You might wonder, "He's a National Armenian Hero—cool, but why should I know about him?" My answer is simple: if the world had more people like him, especially in today's times, it would be a much better place. He fought for justice, embodied culture and education, and radiated a deep love for his people and humanity as a whole. I believe everyone should aspire to have a little bit of Monte's spirit within them, regardless of their nationality.

Now, it's important to note that some things written about him in the Western press can be questionable and inaccurate. So, I would advise taking most of the information from those sources with a grain of salt.

Monte was born on November 25, 1957, into an Armenian family in Visalia, California, that had survived the Armenian Genocide. From 1969 to 1970, his family traveled through Western Armenia, the birthplace of his ancestors. During this journey, Monte, at the age of twelve, began to realize his Armenian identity. While taking Spanish language courses in Spain, his teacher had posed him the question of where he was from. Dissatisfied with Melkonian's answer of "California", the teacher rephrased the question by asking "where did your ancestors come from?" His brother Markar Melqonyan remarked that "her image of us was not at all like our image of ourselves. She did not view us as the Americans we had always assumed we were." From this moment on, for days and months to come, Markar continues, "Monte pondered [their teacher Señorita] Blanca's question Where are you from?"

In high school, he excelled academically and struggled to find new challenges. Instead of graduating early, as suggested by his principal, Monte found an alternative - a study abroad program in East Asia. The decision to go to Japan was not random. He had been attending karate clubs and was the champion of the under-14 category in California. He also studied Japanese culture, including taking Japanese language courses. After completing his studies at a school in Osaka, Japan, he went to South Korea, where he studied under a Buddhist monk. He later traveled to Vietnam, witnessing the war and taking numerous photographs of the conflict. Upon returning to America, he had become proficient in Japanese and karate.

Having graduated from high school, Monte entered the University of California, Berkeley, with a Regents Scholarship, majoring in ancient Asian history and archaeology. In 1978, he helped organize an exhibition of Armenian cultural artifacts at one of the university's libraries. A section of the exhibit dealing with the Armenian Genocide was removed by university authorities at the request of the Turkish consul general in San Francisco, but it was eventually reinstalled following a campus protest movement. Monte completed his undergraduate work in under three years. During his time at the university, he founded the "Armenian Students' Union" and organized an exhibition dedicated to the Armenian Genocide in the late 19th and early 20th centuries in the Ottoman Empire and the Republic of Turkey.

Upon graduating, he was accepted into the archaeology graduate program at the University of Oxford. However, Monte chose to forgo this opportunity and instead began his lifelong struggle for the Armenian Cause.

In the fall of 1978, Monte went to Iran and participated in demonstrations against the Shah. Later that year, he traveled to Lebanon, where the civil war was at its peak. In Beirut, he participated in the defense of the Armenian community. Here, he learned Arabic and, by the age of 22, was fluent in Armenian, English, French, Spanish, Italian, Turkish, Persian, Japanese, and Kurdish.

From 1980, Monte joined the Armenian Secret Army for the Liberation of Armenia (ASALA – I promise to tell you more about them later) and quickly became one of its leaders. In 1981, he participated in the planning of the famous Van operation. In 1981, he was arrested at Orly Airport in France for carrying a false passport and a pistol. During his trial, Monte declared, "All Armenians carry false passports—French, American—they will remain false as long as they are not Armenian." Over the following years, he perfected his military skills at an ASALA training camp, eventually becoming one of the group's principal instructors.

Monte with his wife Seda

After being released from a French prison (once again) in 1989, Monte arrived in Armenia in 1991, where armed clashes between Armenians and azerbaijanis had already begun. He founded the "Patriots" unit and spent seven months in Yerevan working at the Academy of Sciences, writing and publishing the book "Armenia and its Neighbors." In September of the same year, he went to the Republic of Artsakh to fight for his fatherland and its people. Due to his military expertise, he was appointed Chief of Staff of the Martuni defense district in 1992. His sincerity and purity quickly won the love and respect of the local population and the Armenian community as a whole.

Throughout his conscious life, Monte fought for the rights of Armenians, recognition of the Armenian Genocide, and the reclamation of Armenian homeland.

There are various versions of Monte Melqonyan's death circulating in both Armenian and azerbaijani media. According to official Armenian information, Monte was killed on June 12, 1993, by fire from an azerbaijani armored vehicle.

Monte remains a lasting testament to the incredible potential unleashed when the Armenian patriotic heart unites with sharp intellect.

In case you'd like to put a voice to the face and hear about the Artsakh struggle directly from Monte, here he is speaking about it in English.

[dduane]

...So once again it's the time of year when I return to this piece of digital art (or its earlier versions), tweak it a little in the attempt to get closer to what I see in my head, and repost it for Pride. (ETA, 3 June 2024: image tweaked a little bit more via late-night re-render because the upholstery wasn't rendering correctly, and as a result the kitty sort of vanished. Which would not be at all her style...)

At the moment I'm looking at These Two Idiots (for so they are) and considering with the usual bemusement how long I've been working with them. Of all the characters I've worked with in print, the only ones I've known longer would be the crew of NCC-1701—and very shortly now, for the first time as paid writing, a couple of gentlemen named Holmes and Watson.

I first "met" these guys in late 1970 in the form of the fellow college students on whom they'd be based: a couple of gents (not gay, as it happens) who were friends to me when I needed some. They were a tall dark guy and a short blond one with a mustache that came and went... so that, not even knowing the word "trope" at the time, I fell headfirst into one.

Less than a year after I met them, I changed educational tracks and schools, and we all drifted apart. But something about them stuck. The nature and depth of their friendship was unusual. So was one way it manifested itself: in ruthless snark that had no meanness or cruelty about it whatsoever—just affection.

In the late sixties I'd begun writing some very derivative fic strongly influenced by Tolkien. Rather to my surprise, though, as I started nursing school in 1971, the nature of that fiction started to change, and began rearranging itself around two characters who had a friendship like those of my college friends. With them as its core, a rather different kind of medieval-ish fantasy world started knitting itself together from various scraps of themes and imagery lying around in the back of my brain.

Even so early in the construction phases of this world, something the characters quickly made plain to me in the writing was that their relationships with one another were not what mainstream 1970s culture would consider conventional. They were gay... but that was a background issue,* and not at all the most important thing in their lives. They had far more important business to deal with—as became clear as their personalities and priorities started filling themselves out in the foreground.

One of them turned out to be the deliberate, analytical, methodical son of a provincial nobleman, all too aware of the expectations of those around him: that he might well eventually wind up running that province himself. Yet at the same time he also became aware that he had other problems, chief among them the discovery of a nascent power that would kill him young if he couldn't master it. And in the last thousand years, no one of his gender ever had.

The other presented himself more and more clearly as a difficult case: someone who wanted very much to be good at the family business, but wasn't... and knew it. Kind of a screw-up, repeatedly doing the wrong things for what he was sure were the right reasons. Yet, no matter how often he screwed up, he was also the kind of person who keeps picking himself up and trying again, because he's been told over and over that that's what people like him have to do: otherwise they're no use to anybody.

Imagine my shock when I realized that these two men—initially canonically enemies in their adolescence, then best friends as they grew, and eventually much more—were the (incomplete) answer to the question I'd once asked my Mom at the end of the bedtime reading of some fairy tale or other: "Why can't a prince rescue another prince?" Because one of them got himself more than once into situations where he really needed one kind or another of rescuing. The other one obliged him, while once or twice getting rescued himself. Those interlocking patterns started to solidify out of concept and into character detail and plot, while their world grew and proliferated into its own detail around them.

Then, without warning, in 1978 both world and characters decided they were ready to get real. I was abruptly dragged gasping and flailing under the surface of a novel that would begin the tale of what those two characters had yet to become. The period it took to produce that first draft was possibly the most interesting six weeks of my life... and that includes the six weeks during which I first scrubbed in on brain surgery. Day and night, for days at a time, I barely even existed except as something for a novel to come out of. When it was done with me, it just as abruptly dumped me back into my life and wandered away, leaving me staring around, blinking and wondering if anybody’d got the number of that truck. Nothing like it has ever happened to me since, which may be just as well. I’m none too sure that these days I could handle the strain.

The book—which sold a couple of weeks after it landed on its first publisher's desk—kicked off my career as novelist and screenwriter, and in its way proved that the world was at least somewhat ready for epic fantasy in which the basic culture was pansexual, polyamorous, and inclusive in ways that hadn't been attempted before.

So I owe them a debt, those two gentlemen up there: the tall dark curly-haired guy with the amateur strategist's mind, the blacksmith's shoulders, and the peculiar sword, his background thought always nibbling away at the question of how to heal the world's wounds: and the short fair gent who if he could would stay at home, live quietly in town, and work in the local library... except for when saving the world (or his found family) requires him to subsume his being into that of his ancestral demigod. Due to the success of the book in which they made their debut, these two became, in their way, the fairy† godfathers of the Young Wizards—and additionally enabled all that Star Trek fanfic I'd started writing a decade before to proceed to its logical conclusion.

More to the point, though, a lot of people in the 1980s and '90s who'd never seen queer representation in a fantasy novel, found it first, or at last, while following Herewiss and Freelorn down their road. It's been my pleasure to hold that space for new readers, and keep adding to it... because (if you ask me) it's needed more now than ever.

So, to the readership of the Middle Kingdoms works—now pushing half a century old—and everybody else who's celebrating the season: happy Pride!

*Not least because everybody else in their world is (at least potentially) some shade of queer, including God.

†(snicker)

[columboscreens]

columbo is so gender to me but i dont think i could ever look like him</3

i think it's totally possible for anyone to embody his essence. you can even manage to rock something directly inspired by columbo without looking like you're cosplaying.

hair

if you have columbo's hair type, it's actually pretty easy to emulate his styles. i even know people who show pictures of columbo to hair stylists to get his look. my partner's hair in its natural state is very similar to columbo's--dark, wavy, tending to grow in spite of gravity rather than with it. whenever he gets his hair cut, he shows the stylist photos of late 60s/pilot episode peter falk, whose look is actually pretty on-trend for the current era. it works out pretty well.

your swag may have aged well pilot columbo but you can't beat floof

failing that, getting any haircut that is natural, low-maintenance, and not too attention-grabbing captures the visual language all the same. for reference, natasha lyonne in poker face has her hair in natural-looking, messy waves that to me just exude columbo.

clothing

how you present yourself to the world is up to you, but if you want to invoke columbo, there's a lot more you can do than buy a tan raincoat.

in an era of sharply-cut, wide-lapelled constructions, fat tie tuesdays, and gucci loafers, columbo stands out as classic comfort personified.

his collar, tie, and lapels are slim, proportional, and unassuming; they'd look good in almost any era. his pants fit closely to his leg but not too wide or slim, and sit at or near the natural waist. though his suits, shirts, ties, shoes, socks, and even coats rotate, there is a consistent color palette keeping him "on model". he embraces earth tones: creams, forest greens, light browns, dark browns, stony grays, rusts, and roses. his clothing seems like an afterthought, but it's an extension of his personality--rumpled and unassuming at first, yet sharp and deliberate upon further inspection.

amid the 1970s explosion of synthetic popularity, it says something that every stitch of textile on columbo's person is natural (aside from the raincoat, which is probably nylon or poly--he wears it without a lining and uses it as essentially an oversized windbreaker). his boots are leather with crepe latex soles; his tie is silk. his shirt is cotton, a bit boxy but comfortable and properly fitted. because the construction of his suits is roomy and unstructured, and because they're made of linen, they wrinkle easily.

this is easily confused for appearing slovenly. actually, all things considered, his clothes fit him pretty damn well, it's just hard to avoid wrinkling natural fibers like linen and cotton, especially in hot weather. he's running around los angeles sweating up a storm, the man needs loose, breathable fabric.

point is, columbo dresses very thoughtfully. since these clothes are workwear for him and he works a hell of a lot, it's imperative that he factors in the weather, his comfort, and proper fit when picking clothes. he wants to like and be comfortable in them while looking unassuming. so even though he sometimes ends up looking like an unmade bed, his choices are deliberate.

you could invoke these principles in your own appearance by picking earthy colors/jewel tones and comfortable, natural fabrics that you enjoy wearing, which has the added benefit of being better for you and the environment. consider also taking a few garments in to be altered. it's usually not that expensive, supports your local needlefolk, and makes even cheap clothes fit great.

as a last little aside, i think having a "signature" clothing item akin to columbo's raincoat would be a nice touch. a jacket, a pair of shoes, even a watch or necklace. something you always wear. if you really do want a raincoat like his, just make sure you're not buying a trench coat, because, repeat after me: columbo does not wear a trench coat.

[seat-safety-switch]

So-called motorcylists love to shove their beloved bikes away whenever there's a little bit of snow on the road. That's because motorcyclists are famously concerned with their public perception. They don't want to drive around town with wood screws run through their tires, shrieking profanities at stopped traffic before ripping a perfect 12 'o' clocker and driving across the iced-over multi-use-pathway, comfortable in their knowledge that the police will not and can not follow. Or it's because they don't have heated grips, and their handsies get cold.

Heated steering wheels are the single greatest innovation in cars in the last two hundred years. Unfortunately for me, they hadn't been installed into cars of the age I own. In the late 1970s, the newest innovation in steering wheel comfort was "maybe make them a little smaller, for the ladies." Seems like I was cursed to a lifetime of wondering if my thermostat was seized, freezing to death even through many layers of mittens and work gloves while waiting for the tow truck to arrive and clean up the commuters in front of me.

Of course, Plymouth also didn't equip this car with a lot of other modern features. For instance, liquid-cooled active speed laser and radar jamming was not available. Active pursuit drones pre-programmed with a seek-and-destroy order for all speed cameras were not yet on the market, unless you worked for the CIA. And also the good people of China had not figured out how to make $35 45-millimetre ball-bearing turbochargers capable of adding nearly four hundred horsepower to any engine strong enough to keep its guts on the inside when presented with one medium-sized jet engine's worth of boost. I had to add all those things myself.

Easy, right? Run some wires to a heating element on the steering wheel. There's just one complication: steering wheels turn. If I keep spinning the car left and right, eventually the wire will get tangled up and rip itself out, causing an electrical fire. Admittedly, that will also keep my hands warm, but the walk home after is inconvenient.

The original "engineers" who took a whisky-soaked gander at this car before slapping their secretaries on the ass had a solution, though. In every steering wheel, the horn button has the same problem. Unfortunately for me, the horn hasn't worked in this car since 1983, which complicated my attempts to reuse the wiring.

Ultimately, I came up with what a rocket scientist would call "a compromise." A pair of bolt cutters and a map to the local truck-supply warehouse's storage yard soon provided me with a nifty diesel-fired interior heater, a roaring flame that consumes all and produces enough heat to make toast from three feet away. Ratchet-strapped to the place where the passenger seat used to be, it will keep my fingers warm, as well as my feet and every other part of my body. Sure, it's inconvenient having to continually refill it with stolen farm diesel, and I could have run the exhaust pipe out of the cabin a better way than through the rust hole in the floor. Once you get that heated seat feeling, though, you simply can't go back. If you'll excuse me, I need to get going: if I don't get to work in the next five minutes, my boots will melt again.

[ghibli-collector]

Another interesting article about the new Ghibli film Boy and the Heron with great insights into Miyazaki’s relationship with Joe Hisaishi and Toshio Suzuki making films over the years. Again it has a few spoilers

What’s it like to work with Hayao Miyazaki? Go behind the scenes.

News of Hayao Miyazaki’s retirement can’t ever be trusted.

The Japanese animation master’s repeated claims that he’ll give up filmmaking are a response to the strain that creating each of his largely hand-drawn universes entails. At least that’s what Toshio Suzuki, a founder of Studio Ghibli and Miyazaki’s right-hand man for the past 40 years, believes.

"Every time he finishes a film, he’s so exhausted he can’t think about the next project,” Suzuki explains. "He’s used up his energy physically and mentally. He needs some time to clear his mind. And to have a blank canvas to come up with new ideas.”

A decade after 2013’s "The Wind Rises” was heralded as Miyazaki’s final film, the 82-year-old auteur’s newest feature, "The Boy and the Heron,” is being released in the United States after major success in Japan over the summer, where it opened without any traditional publicity.

Though the director hasn’t given any interviews about "The Boy and the Heron,” Suzuki, 75, who is also a veteran producer, and Joe Hisaishi, 72, the longtime composer on Miyazaki’s movies, describe in separate video interviews the master’s working process and how their collaborations have evolved — or not — over the years.

Suzuki is casually dressed and speaking, via an interpreter, from Japan, where he sits next to a pillow emblazoned with Totoro, the bearlike troll that serves as the studio’s logo. He says the new fantasy film is Miyazaki’s most personal yet. Set in the final days of World War II, the tale follows 11-year-old Mahito, who, after losing his mother in a fire, moves to the countryside, where a magical realm beckons him.

"At the start of this project, Miyazaki came to me and asked me, ‘This is going to be about my story, is that going to be OK?’ I just nodded,” Suzuki recalls with the matter-of-factness of someone who’s learned it would be futile to stand in the way of the director.

For a long time, he says, Miyazaki worried that if he made a movie about a young male, inspiration would inevitably be drawn from his own childhood, which he felt might not make for an interesting narrative. Growing up, Miyazaki had trouble communicating with people and expressed himself instead by drawing pictures.

"I noticed that with this film, where he portrayed himself as a protagonist, he included a lot of humorous moments in order to cover up that the boy, based on himself, is very sensitive and pessimistic,” Suzuki says. "That was interesting to see.”

If Miyazaki is the boy, Suzuki adds, then he himself is the heron, a mischievous flying entity in the story that pushes the young hero to keep going. Director Isao Takahata, Studio Ghibli’s third foundational musketeer, who died in 2018, is represented onscreen by Granduncle, a wise but weathered figure who controls the fantastical world Mahito ventures into.

Suzuki first met Miyazaki in the late 1970s, when the animator was making his first feature, "Lupin III: The Castle of Cagliostro,” an amusing caper. Back then, Suzuki was a journalist hoping to interview him.

But Miyazaki, who was working on a storyboard, had no interest in talking and ignored him. "Out of kindness, I thought it was a good thing to introduce his works to my readers, and for him to be very cranky and disrespectful, I was very angry,” Suzuki remembers.

He stuck around the studio for two more days of silence. On the third, Miyazaki asked him if he knew a term for a car overtaking another during a chase. Suzuki’s reply, a specific Japanese expression for such action, finally broke the ice and kick-started their long-term relationship.

"Miyazaki still remembers that first meeting, too,” Suzuki says. "He thought that I was a person not to be trusted. And that’s why he was very cautious about talking to me.”

Over the years, Suzuki has become increasingly indispensable for Miyazaki. "He always tells me, ‘Suzuki-san, can you remember the important things for me?’ And then he feels that he can forget about all the important things not concerning his films. I have to remember them for him,” Suzuki says.

Best friends more than mere collaborators, Miyazaki and Suzuki talk every day, even if there’s nothing urgent to discuss, and make it a rule to meet in person on Mondays and Thursdays. "What we talk about is very trivial most times, I guess he feels lonely or misses me, but it’s always him who calls me. I never call him,” Suzuki says, adding with a laugh, "Sometimes he even calls me in the middle of the night, like at 3 a.m., and the first thing he says is, ‘Were you awake?’ And obviously I was not. I’m in bed!”

In contrast, Hisaishi, the composer who first worked with Miyazaki on the 1984 feature "Nausicaa of the Valley of the Wind,” has a strictly professional relationship with him.

"We don’t see each other in private,” Hisaishi, wearing an elegant sweater, says through a translator. "We don’t eat together. We don’t drink together. We only meet to discuss things for work.” That emotional distance, he adds, is what has made their partnership over 11 films so creatively fruitful.

"People think that if you really know a person’s full character then you can have a good working relationship, but that doesn’t necessarily hold true,” Hisaishi says. "What is most important to me is to compose music. The most important thing in life to Miyazaki is to draw pictures. We are both focused on those most important things in our lives.”

On "The Boy and the Heron,” Miyazaki didn’t provide Hisaishi with any instruction. The musician watched the film only when it was nearly completed but still with no sound or dialogue. At that point Miyazaki simply said to Hisaishi, "I just leave it up to you.”

"I feel he was just thinking that he could rely on me and expected me to come up with something,” Hisaishi says. "I feel like I was very much trusted to do this.”

For all of their previous collaborations, Miyazaki would bring on Hisaishi to discuss once three out of the four or five parts of the storyboard for a new film were ready. That the process changed this time was possible only because of their shared history.

"It’s as if we’ve been Olympic athletes making a film once every four years for 40 years,” Hisaishi says. "It’s been a long time of training and performing. When I look back I’m amazed that I could write music for these very different films.”

In his contemporary classical work, Hisaishi had been working on minimalist compositions with repeating patterns, and he took that approach to the new film.

While he maintains they are just colleagues, every January for the past 15 years, Hisaishi has composed a small tune, recorded it on a piano and sent it to Miyazaki as a birthday present. This tradition has now become the seasoned musician’s lucky charm.

"After about three times I thought, ‘This has probably run its course,’” Hisaishi recalls. "I didn’t send one the following year. That whole year I wasn’t able to work very well. It was sort of a jinx that I had not sent him something, so I started sending him the music again for his birthday,” he adds with a laugh.

Both Hisaishi and Suzuki say their interactions with Miyazaki have not changed much over the decades. On the contrary, the men have become staunch creatures of habit.

Asked why his profound connection with Miyazaki has endured so long, Suzuki says: "I don’t necessarily agree, but he once told me, ‘I’ve never met someone so similar to me. You are the last person that I will meet like that.’”

BY CARLOS AGUILAR

THE NEW YORK TIMES

[laxmiree]

[CN] MLQC’s Lucien - Fragment Date - English Translation

⚠️ SPOILER ALERT!! ⚠️

This post contains a detailed spoiler for a date that has not been released in EN yet! Feel free to notify me if there are any mistakes in the translation~

[Warning]: The content of this date is pretty explicit and may not be suitable for individuals under the age of 17 (CN server). It is recommended that those who do not meet this age requirement refrain from proceeding beyond this point.

He traces a trail of delicate nibbles along my neck, kissing the path where life itself flows.

I feel those affectionate yet slightly demanding marks being etched again and again. For some reason, I find myself speaking without thinking.

"Bite me, Lucien."

Translation under the cut!

[T/N: This date references some dates in the past; like his Prison Date, Monochrome Scenery Exclusive Past and its Event Story,  “Lab Koi” call, his Last year’s Birthday Story, and The Sea No Longer Distant MQ. Since this date has a lot of callback, I think it’d be better if you read those dates, events, and phone calls first if you haven’t :>; or at least the MQ and birthday story one because this date is also some kind of extension to those]

[Subbed Video]

[Transcript Ver]

=[Part 1]=

I wake up to the faint whirring of the fan and the subtle scent of a fruity fragrance lingering in the air. I turn over in bed, slowly blinking my eyes open.

The brilliant sunlight filters through the lace curtains, casting iridescent patches of light that dance playfully across Lucien's body.

He sits in a rattan chair by the window, flipping through a book in his hand. An exquisite purple clay tea set rests on a side table nearby.

For a fleeting, dreamlike moment, I feel like I've traveled back to the 1970s.

As if sensing my gaze, Lucien turns his head, and a hint of a smile appears in his eyes as he looks at me.

Lucien: It seems a certain lady hasn't adjusted to the time difference yet.

Lucien: It is now noon in U.S. time.

My foggy brain finally starts to turn sluggishly. I leave the bed, drag a chair over to sit beside him and yawn again.

MC: It can't be helped. It's already the wee hours in Loveland City.

Lucien: [teasingly] Oh? But as I recall, a certain night owl sometimes doesn't go to bed obediently even at those hours.

MC: [pouts] ....Hmph, you're one to talk, Mr. I-Don't-Need-Sleep!*

[T/N: MC actually calls him 进化了睡眠的人 here, which literally means “evolved sleep people”, it might be referring to him seemingly have evolved beyond the need of sleep😂]

Lucien: I've been quite well-behaved lately, haven't I? And when it comes to sleep duration, well, let's just say you're the ‘expert’.

Lucien blinks at me innocently, and I quickly take a sip of the tea he offers, hoping he won’t delve deeper into this topic.

A sweet and sour sensation blooms in my mouth. Perhaps there are other unknown herbs added, as I also detect a hint of honeyed sweetness.

✂———————–

=Flashback start=

Ten hours ago, in the dim and quiet cabin, the only sound was the occasional soft tapping of a keyboard from the seat next to me.

I lifted a corner of my eye mask and leaned closer.

MC: It's time for sleep, Professor Lucien. Didn't you say the seminar doesn't start until next week? We arrived three days early.

Lucien: That's true, but I don't plan to use this time for conference preparations.

Lucien: After all, a certain classmate expressed a desire to take this opportunity to visit my lab from my master's and Ph.D. days. I want to dedicate my time fully to you without any interruptions from other matters.

Beyond his words, I sensed other emotions in his earnest tone.

MC: [curiously] Is our Professor Lucien nervous because I'm going to visit the places where you once studied and lived?

Lucien: Yes.

He admitted it frankly, his eyes lit up as he looked at me.

Lucien: That place is very important to me.

Lucien: This feeling is like... inviting you to step into a chapter of my past.

Lucien: It should be a proper occasion, something worth your anticipation.

=Flashback end=

✂———————–

As I step out the door, a wave of heat washes over me. Thankfully, the house is nestled among the trees, providing some relief from the sweltering heat.

Lucien leads me down the stone steps, deeper into the verdant greenery. The lively apple trees grow abundantly, and even the breeze seems to carry a sweet fragrance.

The bed-and-breakfast he booked is located within Carver Estate Farm, not far from the lab. Since it's still early, we decided to take a stroll in the farm's orchard first.

MC: Now I finally feel like I'm truly on an American farm—

Lucien: The furniture and decor in that room can indeed be a bit misleading.

Lucien: That said, the radio and clock in the living room are just decorative pieces, and the stainless steel kettle in the kitchen is also fixed to the table.

Lucien: As for the fan and the TV, including the sewing machine, they actually work and can somewhat be considered "antiques.”

MC: When did you…

Lucien: [chuckles] The wait while you're asleep feels endless*, so I have to keep myself busy.

[T/N: Lucien uses the word "难熬" (literally means hard to bear) to describe his feelings while waiting for MC to wake up. Rather than feeling annoyed, the original sentence conveys a sense of longing and impatience, emphasizing how much he misses her so the wait feels unbearable]

Seeing him speak so seriously, I can't help but give his palm a gentle pinch.

Lucien: To be honest, I was a bit curious. I didn't expect the owner to maintain this style, or rather, deliberately preserve it.

MC: Have you been here before?

Lucien: Mm, Dr. Lawson brought the entire lab here before.

✂———————–

[T/N: Dr. Lawson was Lucien's mentor during his Master's and PhD years, in those years Lucien also had some seniors like Colt, Caroline, and Elliot. You can read more in Monochrome Scenery Exclusive Past. It can be said that the time during his Master’s and PhD years was the 'happiest' for him, after he abandoned his name and before he met MC. This young boy discovers that he’s not the only genius in this world. Surprisingly, this isn’t a bad thing; because being considered a genius had previously isolated him from his peers, but being surrounded by other geniuses provides him with a taste of mundane life… although he can’t fully taste it due to Black Swan’s pressure :"]

✂———————–

=[Part 2]=

Lucien: I remember it was autumn. We had just finished a phase of our experiment.

Lucien: The process of this experiment was very prolonged, and almost everyone expended a lot of effort. Fortunately, the results exceeded expectations.

Lucien: As a celebration, or perhaps simply out of a need for a break, Dr. Lawson suggested an outing after the experiment concluded.

MC: Sounds like a team-building activity?

Lucien: [chuckles] You could say that.

Lucien smiles lightly.

Lucien: At first, we all thought it would just be a matter of finding a nice restaurant, having a meal and chatting, or going to the theater to watch a performance.

Lucien: It wasn't until everyone received an email from Dr. Lawson that we realized we had been granted a mandatory five-day vacation. And the destination was this very farm estate.

MC: Pfft, Dr. Lawson is quite ceremonious about giving everyone a day off~ So, did everyone just obediently accept the arrangement?

I notice Lucien pausing, lost in thought, which is unusual for him. Then, a smile spreads on his lips.

Lucien: [chuckles] Not exactly.

Lucien: Eventually, everyone practically treated this place as a lab annex, almost bringing in equipment. Fortunately, the farm owner was an old friend of Dr. Lawson's, so we weren't kicked out.

MC: Hahaha, I knew it!

As we walk deeper into the apple orchard, the intertwined branches and leaves block out the sunlight, creating a vast expanse of shade. Vibrant red apples dot the lush greenery, looking especially tempting.

Lucien: The farm owner is an elderly Chinese gentleman. It's said that he and his wife came here to live when they were young, and this apple orchard was also planted by them with their own hands.

MC: No wonder. I think I suddenly understand why the house's decor feels so nostalgic.

Lucien: Perhaps it's precisely because they've been away for so long that they need tangible things to solidify those memories.

The swaying shadows of the trees dance in his deep eyes, and even though he's talking about someone else, I feel like I'm hearing unspoken words meant for himself.

So I rise on my tiptoes and cup his face, turning it towards me.

MC: So today, little Lucien is revisiting his old stomping grounds~ And as such an accomplished young professor, no less!

MC: This memory is very precious, and it's important to solidify it well.

Lucien: Is that so?

His voice is soft as he lowers his eyelashes and gazes into my eyes.

I feel like my entire being is almost seen through by him. He doesn't say a word, just keeps looking at me.

MC: Why are you staring at me?

Lucien: [chuckles] I'm solidifying this memory.

MC: Um?

Lucien: Because I'm not just here by myself.

Lucien: Today, I'm revisiting this place with my girlfriend. I want to look closely, carefully, and remember your appearance clearly.

I can't help but laugh, my fingertips brushing against his earlobe.

MC: Then how about remembering a bit more~ What else did little Lucien do here?

Lucien: I ate the apples.

MC: ....That doesn't count!

Lucien: Of course it counts. To be precise, it was an apple feast, with apple pie, apple muffins, apple salad, apple stew…

MC: Stop...! You're making me dizzy just looking at these apple trees now.

MC: I feel like they're saying to me, "I'm apple pie, I'm apple muffin…”

I dramatically shake my head and point to the huge fruits hanging above us.

Lucien seems amused by my actions. Seizing the moment, he smoothly takes my hand and plucks the apple hanging closest to us.

Lucien: [chuckles] Then let's eat them all, one by one.

He finishes speaking and even "conjures" a thin blanket from his bag, spreading it on the ground. He pulls me, who is still processing the moment, to sit under the tree.

His seamless actions leave me completely unable to keep up with him, and my questions come out in a jumble.

MC: C- Can we just pick the apples here? And sit down like this? And this blanket…

Lucien: I told you waiting for you to wake up feels endless, and I wasn't lying.

He looks as if he knows I can't do anything about him, and his tone, though seemingly aggrieved, is full of triumph.

We sit side-by-side under the tree, falling into a brief silence. The wind gently blows, as if not wanting to disturb this tranquility.

Lucien & MC: What are you thinking about?

Suddenly, we speak at the same time, and the unexpected coincidence makes us look at each other and laugh.

MC: You go first~

Lucien: I was wondering if an apple might fall on my head.

He says it so seriously that I find it rather cute. On a whim, I get up, pluck an apple, and then gently tap him on the head.

MC: Knock knock…

Lucien seems surprised by my action, the light in his pupils flickers.

Lucien: [gently] What about you?

MC: Me…

I smile sheepishly.

MC: I thought of a fairy tale, Prince... Snow White.

Lucien: But that's not how I remember the story?

MC: Because… this is a story I imagined!

Lucien nods thoughtfully, not minding my nonsense at all, but instead curving his eyes in a good mood.

Lucien: Then in your story, who are you?

This question stumps me for a moment, and I pause to think seriously before answering.

MC: I'm the magic mirror.

Lucien: Because the magic mirror knows everything?

MC: [smiles softly] Not really, it's because the magic mirror only looks at...the prince.

MC: And if I were the magic mirror, I wouldn't need you to ask, I'd tell you that—

MC: Lucien is the most handsome, the most intelligent, the most amazing, and the person I love the most in this entire world.

My voice is not loud, yet it feels like the entire orchard of apples has heard it. Their already gorgeous red blushing even deeper, making their vibrancy impossible to conceal.

My clamorous heart seems to be thoroughly exposed by the sun, allowing me to distinctly feel its beating and clearly see the smile filling Lucien's eyes.

He lowers his head, takes a bite of the apple in his hand, and lies down without hesitation.

Our hands, which have been holding each other all along, pull me slightly forward because of his sudden movement.

MC: …!

Lucien lies lazily on the plush blanket, each strand of hair scattering softly, as if quietly outlining his innermost feeling at this moment.

His already loose shirt falls open completely, revealing a patch of skin.

He gently blinks and the corners of his lips slightly curl up.

Under the scorching heat, the apples hanging from the branches exude an even more enticing fragrance.

The wind gathers from afar, wave after wave, sweeping through the villa, the woods, and each apple tree, carrying an increasingly rich scent toward us.

His fingertip traces mine, gently caressing the sensitive skin between my thumb and index finger.

It's like some kind of seduction.

Lucien: [whispers hoarsely] Miss Magic Mirror, I've been poisoned.

His voice is soft as if melting into the sunlight, yet it possesses a bewitching power that makes one willingly lean closer to him.

Lucien: You can kiss me now.

✂———————–

[T/N: Prince Snow White and Miss Magic Mirror… it’s a reference to his second Halloween date; Prison Date! Also, I love the way it seamlessly fits in the theme of ‘lover is like a mirror’ from last year's kiss SP; Blooming Amidst Turbulent Desires MQ... perhaps by seeing your lover's eyes you can see the real and complete you :”. And unique to Lucien, it could be that only through seeing his reflection in her eyes can he perceive the colorful version of himself]

✂———————–

=[Part 3]= 

After buying some apple cookies at the farm store and making a reservation for apple cider making tomorrow, we drive to Dr. Lawson's lab.

The asphalt road under the shade of the trees glistens in the summer light. In the distance, sailboats glide on the river and people cycle along the riverbank.

Perhaps it's due to the fluttering anticipation in my heart, but the half-hour drive feels like it's over in the blink of an eye.

✂———————–

Lucien: Dr. Lawson is giving a lecture in London this week, and the current head of the lab is my senior, Colt. After graduation, he stayed on to continue the research.

Lucien: But he happens to be leading a group of students in an academic exchange with another lab today…

Lucien pauses for a moment, moves the gift bag he just placed on the desk to the side, and takes a sticky note off the computer screen.

Lucien: [quietly reading the sticky note] …..

He waves the sticky note at me, and I can clearly see the lively handwriting on it: "Enjoy: )".

Lucien: It seems like no one will be back today. In that case, let's graciously accept this invitation to enjoy ourselves.*

[T/N: "恭敬不如从命" means “it's more respectful to follow a request than to decline it out of politeness.” In this case, rather than refusing Colt's invitation, they graciously accept and agree to enjoy the day as requested]

✂———————–

The white walls make the spacious corridor even brighter. Along the way, the walls of classrooms and laboratories are adorned with various awards and patent certificates.

It seems that just by passing through, one can feel countless figures with unceasing footsteps, moving forward persistently and rationally, knocking on one unknown door after another.

✂———————–

Lucien: The desk by the window was the place I most often sat in the lab. Because I always sat there, it eventually became my ‘workstation’.

Lucien: Even if I arrived late, everyone would save this seat for me;

Lucien: [chuckles] But I don't really have a fixed seat in the library. I've never known if those people who are already looking up information early in the morning are actually early risers or if they just never went to bed;

Lucien: Occasionally, when the weather was nice, professors would take us out to the lawn for class;

Lucien: This vending machine used to swallow coins. I wonder if it's been fixed…

Lucien leads me through the corridor, past the small garden, into classrooms, laboratories, and the library…

Perhaps even he himself hasn't realized it, but returning here has made him happy.

It's in the little things he doesn't even realize he's doing: the way his steps quicken without him noticing, the instinctive caress of his fingertips against my palm, the soft murmurs he makes when he notices something different from his memories.

And even the hint of joy as he reveals those past memories with me.

He leads me by the hand through every nook and cranny of this place, making me feel as if I'm walking through his youth.

Finally, we arrive at the dormitory building. 

Lucien: Generally, everyone lives here. They're mostly single rooms, so you have a lot of privacy.

MC: I remember you mentioned it before, so is this the common lounge area?

In this not-so-large space in front of us, several sofas and coffee tables are neatly arranged, and the bar counter displays simple everyday items.

Lucien: Mm, usually everyone relaxes here while waiting for experiment results. Occasionally, we also play a round of NOU.

MC: Pfft, I didn't expect this kind of leisure activity.

Lucien: [chuckles] To be precise, it's a traditional activity.

Sensing an interesting topic, I quickly shake his hand and press for more details.

MC: What else? What other things do you do?

Lucien thinks for a moment, then suddenly smiles.

Lucien: There's actually one interesting thing.

Lucien: In the past, before important experimental results were concluded, everyone would tacitly let a certain colleague touch the experiment machine a few more times, and then pray to it.

Lucien: And often, the results wouldn't be too bad, and there was a high probability of exceeding expectations.

MC: Hahaha, so he's the ‘lab koi’ you were talking about!

[T/N: It’s a reference to the  “Lab Koi” call from last year!]

Lucien nods, the warm white light tracing the contours of his face, making his features appear even softer.

I can hear the nostalgia in his voice that he unintentionally revealed, and I know that he might be thinking about a lot of things at this moment.

I'm reluctant to break this brief silence*, my gaze subconsciously drifting towards this lounge, as if I could catch a glimpse of the genius boy who had once been here.

[T/N: The phrase "不舍得" (bù shě de) expresses a reluctance or unwillingness to part with something precious or cherished. While the English translation "reluctant" conveys the general idea, it might not fully capture the way MC cherishes this rare moment of Lucien being so nostalgic that she's reluctant to break🤧]

Suddenly, my attention is drawn to the wall next to the bar counter.

It's a small display wall. Besides showcasing some achievement certificates of past researchers, there's also a handwritten message board and some photos.

It turns out there will always be someone who earnestly preserves and longs for the past, with all its time and traces.

I quickly find a familiar figure among them.

It's a slightly blurry photo, almost as if it were a frame grabbed from a video.

The boy surrounded by the crowds slightly widened his eyes, a bouquet of flowers was thrust into his arms as he let the others boisterously tease and laugh around him.

Lucien: [chuckles, his voice exclaims a little in surprise] ...So, I really was quite surprised back then.

Lucien quietly walks up behind me at some point, his gaze intently fixed on this photo.

The world is truly a wondrous place. It appears to operate according to established principles, yet it often defies logic.

Those emotions that he never understood in the past are now brought before him in some fateful way, regaining their meaning and significance.

Lucien gazes at the girl beside him, observing her happiness and surprise, witnessing all the beautiful emotions that have blossomed because of him.

But she has no idea that her existence has allowed him to see how beautiful the world is.

Lucien's gaze slowly returned to the photo.

Countless colorful ribbons flutter in the air, shimmering and sparkling. The colors, engraved with blessings and well-wishes, seem to transcend time, flowing into his eyes in this very moment.

He speaks softly.

Lucien: It turns out that day was actually so lively.

✂———————–

The last scene is about his Last year’s Birthday Story! He graduated with his PhD on his birthday. This graduation was celebrated by his seniors and professor. At that time, everything was monochrome in his eyes. However, visiting the place with MC and seeing his graduation photo with her brings color to a memory that was once only in black and white. He now realizes how lively and vibrant that day truly was.

✂———————–

=[Part 4]=

MC: Are you saying that Senior Brother Colt and Senior Sister Caroline being together was something specifically emailed to you?

Lucien gives a helpless smile.

Lucien: Their reasoning was that I'd receive the information faster by email, and it turns out they were absolutely right.

MC: Hahaha!

We walk back, laughing and chatting. Along the way, I listen to Lucien share stories from his past that he seldom opens up about, about the later developments of his companions, and their current situations.

Some things he tells me without much recollection, while others he needs to think about for a moment. But it seems that the process of remembering makes him a bit happier.

One intersection away from the farm, we pass by a market and stop to buy some food.

Lucien: I'll take the things to the car first, wait for me here.

MC: Okay~ I'll be right here at the market.

While waiting for Lucien to get the car, I notice a stall at the market.

A silver-haired grandma is engrossed in weaving bracelets, her stall filled with dazzling beaded ornaments that shimmer under the soft glow of the glass lamps.

Suddenly, an idea strikes me, and I walk towards the stall.

✂———————–

MC: Ah, it's so hot.

As soon as I enter the house, I hurriedly turn on the air conditioner and fan.

Although the temperature here is still quite pleasant compared to the summer in Loveland City, I’m probably still jet-lagged that I feel a little dizzy.

Struggling to fight the rising drowsiness, I sort and organize the purchased items with Lucien.

Lucien: How about having dinner at the farm's eco-restaurant tonight? That way you can sleep earlier and won't be too tired.

Lucien: Or should we go somewhere farther to try some local specialties?

MC: Either is fine with me~ But before we eat, I need to do something important first.

I arrange the washed apples in a fruit bowl and pull Lucien to sit down with me.

I fish the woven bracelet I bought earlier from the stall out of my pocket. I pull his arm towards me and carefully, with a sense of cherishing, fasten the bracelet around his wrist.

Lucien clasps my wrist in return, his gaze shifting from the bracelet to me, as if waiting for an explanation.

MC: It's just... I suddenly wanted to give you something.

MC: Maybe it's because I saw your photos in the lounge earlier, or maybe it's because I heard so much about your past today.

MC: Even though I knew what those days truly meant to you, it wasn't until I actually went there that I realized…

MC: Everything about Lucien has been well treasured.

He's looking at me, hanging on to my every word.

MC: I'm so lucky to have picked them up again and to have pieced them together with you.

MC: To let them become you, the complete person standing before me.

Gazing into his eyes and seeing the one and only figure reflected there, I feel surprisingly calm and settled inside.

I gently caress his wrist twice.

MC: You see, I tied this knot myself! And I picked out this little agate bead super carefully. Don't you think it's pretty?

MC: It can be like the apple that falls on your head and sparks inspiration or the one that tempts you to be curious about everything.

MC: But now, it is also the "apple" I am giving to you.

MC: [smiles softly] Lucien, I hope the present me can also become a special fragment, forever remaining in your memories.

Pinkish-purple hues gently paint the horizon, and a beam of light happens to fall in, illuminating the agate bead.

The smooth texture is brightly highlighted, making the color seem to dance, leaping into those beautiful dark eyes.

Lucien: [softly] Indeed… very vibrant.

Lucien: Like an apple.

As he says this, he looks at me, his brows and eyes curving into a beautiful arc, leaving me momentarily unsure of what exactly he's referring to.

MC: Then let’s go eat…!

My cheeks start to feel warm as I belatedly realize what he means, and as I try to rise from his embrace, an irresistible force pulls me back onto his lap.

The arm wrapped around my waist tightens slightly, deepening the embrace.

Lucien: [whispers seductively] Before that, I also have something important to do.

He lowers his head, kissing the little agate bead cherishingly, then gently moves his kisses to my fingertips resting on his wrist, his lips slowly trailing upward, inch by inch.

Each kiss is feather light and slow, as if he’s carefully tracing every detail, until every part of my skin is stained with his warmth.

Lucien: MC.

He gives my earlobe another gentle peck before pulling back slightly, creating a small distance between us.

Lucien: [softly] Today, I've felt the significance of those seemingly meaningless moments from the past.

Lucien: It turns out there are many other people in my dreams.

[T/N: This part is what I mean by the date being the extension of last month's MQ (The Sea No Longer Distant MQ). It can be said that on this date, Lucien finally understands what MC means in that MQ. It's like... growing a 'heart' and feeling emotions that he doesn't comprehend before. He's lucky to have many people willing to ‘dream’ together with him🥺]

His abrupt change of topic leaves me momentarily confused as if he’s speaking in riddles. It takes me a moment to catch up and understand what he’s talking about.

Memories of the beach from a month ago flood back. I look into those eyes that are still fixed on me, and I seem to see emotions in them that weren't there before.

Lucien: You're right. People are complex, and they're also greedy.

Lucien: Because of you, I've accepted many things, and as a result, I desire even more.

Lucien: I'm curious about what other changes I'll experience because of you, and what surprises you'll bring me.

Lucien: And besides curiosity, there's also expectation.

I tilt my head up and kiss the corner of his lips.

MC: Then keep being curious about me.

MC: I like that you're curious about me.

I reach out to touch Lucien's face, wanting to look more clearly into his eyes.

Lucien: [whispers softly] Miss Magic Mirror, can you tell me…

Lucien: In your eyes, what am I like at this very moment?

I can't help but laugh.

MC: Right now, your eyes are the color of the entire sky. They're so beautiful.

MC: Your hair is bestowed with the warm glow of the setting sun, looking soft and fluffy. Your lips…

As I talk, I give him another kiss.

MC: It makes me want to do this.

Lucien also starts laughing.

MC: Lucien, right now, everything about you is complete in my eyes, and I can see you clearly.

He leans down again, his warm and moist breath brushing against my neck as he kisses me, causing subtle tingling sensations on my skin.

I instinctively try to pull away, but as I reach out to hold onto the back of his neck, he firmly holds me in place.

My legs dangle, unable to find a foothold, forcing me to use all my strength to hook onto his lap, while my other hand blindly grabs onto the curtain.

The crimson sunset spills over us unrestrainedly. As if dazzled by the spots of light, Lucien lifts me towards him, shifting a little as he holds me.

Amid the rocking motion, his leg accidentally touches the nearby coffee table, making a noise.

The sudden weightlessness makes me instinctively tighten my arms, causing him to gently bite my collarbone.

His scorching breath brushes against my neck like a feather, his scent overwhelming and filling every corner. It mingles with the fruity fragrance in the air, creating an even more alluring aroma.

Out of the corner of my eye, the goldfish in the fish bowl seem startled as well, swaying and swinging, leaving behind two tangled and intertwined trails*.

The skin grazed by my fingertips starts to burn, and I'm getting hot too.

Lucien: [whispers hoarsely] MC, you make me feel a gentle gaze.

Right now, we probably can't see each other's expressions, but it's as if we can see everything.

His low, hoarse voice resonates against my neck, and his moving lips make my throat vibrate, as though his words and voice have become my own.

Lucien: [x2] Make me feel truly seen by you, deeply loved by you**.

Lucien: [x3] Make me… feel happy and satisfied.

He traces a trail of delicate nibbles along my neck, kissing the path where life itself flows.

I feel those affectionate yet slightly demanding marks being etched again and again. For some reason, I find myself speaking without thinking.

MC: Bite me, Lucien.

The rustling of clothes suddenly stops, and his breathing also ceases, as if he is holding his breath.

I know my face is burning bright red, but I only shyly embrace him, moving myself even closer to him.

MC: I've also been seen by you and possessed by you.

In the sweaty air, I hear his long, drawn-out breath.

But in the next moment, they are all swept into my lips and tongue, obtaining all my oxygen in a different way.

Lucien: [kisses and pants] It is because you possess me that I am complete.

Lucien: [x2] Please keep possessing me forever… MC.

Lucien: [x3] In this world, only you will possess this kind of me.

.

.

.

———FIN———–

[T/N]

*: The fish in the bowl description might seem out of place, but it's not! It alludes to '鱼水之欢' (lit. 'the joy of fish and water'), which is a Chinese idiom that describes the joy and intimacy of sexual intercourse or the metaphor for the act itself. It's also an idiom that is a metaphor for the intimate and harmonious emotional or sexual life of men and women.

**: This is my favorite line in this because of the way it emphasizes Lucien's feeling of being understood and cherished 🤧 “看见" (kàn jiàn, to see) has the connotation of being acknowledged and truly understood. I think, for Lucien, being ‘seen’ and understood is significant; understanding the world is his thing as a scientist, so when someone makes an effort to understand him, it means a lot to him. Then the use of directly spoken “爱” (ài) which is a very, very sentimental word to say compared to how the west uses ‘love’ regularly… and the way it also encompasses a sense of enduring love, a sense of care, cherishing, and protectiveness🥺

Those last lines!!!!! Under her gaze, he feels utterly seen, completely known, and thus, entirely himself. It's because she possesses him fully that he feels complete. While others in his life may hold only fragments of him, she alone possesses his entirety. As the fox says in "The Little Prince," “But if you tame me, then we shall need each other. To me, you will be unique in all the world. To you, I shall be unique in all the world.” It is through her 'taming' that his completeness becomes something uniquely hers and hers alone.

And as Lucien mentioned in the Radio Broadcast Date, his form of possessiveness goes beyond one-sided control or dominance. Rather than just possessing her, he longs even more for her to possess him. To let her influence and 'change' him. Their possessiveness is a two-way thing: just as he is insatiable and wants all of her, he also craves to belong to the one he loves and to surrender himself entirely. After all, possessiveness is also a form of exceptional cherishing of the other party (his words in radio broadcast date, not mine), and he enjoys the feeling of being cherished and loved in this way.

[saintsenara]

In Marauder era (or 1st Wizarding World era) fics, all the characters that we know from the actual books/movies (i.e., The Marauders + Lily, the Malfoys, Bellatrix, etc.), or just characters that are more known, are all put in Hogwarts together at the same time, and it confuses me.

They couldn’t have all been at school together, could they? And even if they were, most of them would have to be years ahead, no? It especially confuses me when Bellatrix is the one in school with them, but her and Narcissa are the only ones that are ever mentioned. Andromeda is literally not that much younger than Bella and older than Narcissa, so you would think that she would appear, yet she doesn’t. Why exactly are they always all bunched together? And what are their actual ages?

this is a bit of worldbuilding which i'm not fond of either, anon.

i get why it happens - hogwarts is a school and, therefore, requires a large cast of characters as fellow students, and since marauders-era writers don't have the advantage that lightning gen writers do of being able to lift these characters directly from the text, the few names we do know from canon of people who lived and died during the first war get used to fill in the gaps.

there are also - obviously - some inconsistencies in the text itself caused by jkr's functional innumeracy. if we take the date of birth given for bellatrix on the black family tree she drew in 2006 - 1951 - then she would graduate hogwarts in either 1969 or 1970, depending on when in the year her birthday is. but sirius says in goblet of fire that she was friends with snape at school.

i ignore sirius and go with the given date of birth because it works better for my worldbuilding - and i have andromeda born in 1953 [leaving hogwarts in 1971 or 1972] and narcissa born in 1955, as per the family tree, but in the autumn [therefore leaving hogwarts in 1974 - and married in 1975, allowing narcissa's wedding to be the last time sirius sees bellatrix, since, as he tells us in order of the phoenix, this took place when he was fifteen] - but i think authors can shift the sisters' birthdays later if they do want to have them overlap more with the marauders generation without it being too much of a problem.

lucius malfoy's date of birth can be worked out fairly easily from canon. in the autumn of 1995, he's forty-one - as we're told in order of the phoenix - which means he was born in 1954 [or - if he has a winter birthday - late 1953] and was at hogwarts between either 1965-1972 or 1966-1973 depending on when in the year his exact birthday is - if it's october 1953-august 1954, he's in the former cohort; if it's september 1954 [which is when the article in which his age is mentioned is published] then he's in the latter. we know he overlaps with the marauders cohort very briefly - since he's shown meeting snape in the prince's tale - but, since he's either a sixth- or seventh-year at the time, i find it unlikely that he paid james and sirius much attention, or that they paid him much attention in turn.

[lucius must - let's be real - go rather under the radar, since he's clearly able to recruit death eaters while at school - and immediately after leaving it - without being noticed.]

what i'm much less inclined to be flexible on is the fanon which has characters like dorcas meadowes, marlene mckinnon, emmeline vance, and so on all be at hogwarts with the marauders - which doesn't work for me for the very basic reason that the order of the phoenix is not an army of child soldiers.

the implication of canon is definitely that the four marauders and lily are an exception to the make-up of the rest of the order - likely for the sensible tactical reason that dumbledore had all the ministry infiltrators he needed, but didn't have people who would be able to provide information about voldemort's recruitment of younger death eaters, which the marauders were clearly able to do by virtue of having been at school with them all [and - in sirius' case - being related to two of them].

it's also clear in the text that dorcas meadowes [who is the only person in the first war other than james and lily we know was killed by voldemort himself] must have been an important political figure - otherwise the dark lord would have left her for one of his minions - and that james and lily don't know marlene mckinnon well enough for her to have been a school friend.

[if she was - as is the common fanon - sirius' teenage girlfriend, i would like to hope that lily's letter to him mentioning her death would devote a little more space to the event than it canonically does...]

what i love to see is the rest of the order - hardened aurors and civil servants who've been locked into the war with voldemort since the marauders started school - being a combination of faintly amused and supremely irritated by the group of cocky young bastards who've just turned up at their meetings, and who seem to think the whole "being a paramilitary" thing is a big laugh.

[especially because it's then so much easier to explain why everyone involved could believe that sirius was guilty...]

[hotvintagepoll]

LAST POLL OF ROUND 5

Propaganda

Sophia Loren (Marriage Italian Style, Houseboat)—Major Italian star, first actress to win an Oscar for a performance not in English (for Two Women (1960)) and later when Roberto Benigni won an Oscar in 1999 he jumped over the chairs towards the stage going "Sophia Sophia!!" because he was running towards Sophia Loren and said he cared more about her than the Oscar, that's the effect she had on people. She was big in the 60s already even though she gained a lot more notoriety after that. And I mean. Can we take a moment and just.

Mbissine Thérèse Diop (Black Girl)—She’s a Senegalese actress known for starring in Black Girl, one of the first African films to receive international attention/acclaim. So much of the movie relies on her ability to convey her character’s sense of isolation/loneliness, she’s so amazing, I really wish she had acted more. However, she just recently appeared in the film Cuties!

This is round 5 of the tournament. All other polls in this bracket can be found here. Please reblog with further support of your beloved hot sexy vintage woman.

[additional propaganda submitted under the cut.]

Sophia Loren:

She has maxed out all her stats: beauty, elegance, sensuality, she's got it all. her mesmerizing eyes, her sensual mouth, her sharp face shape, her everything is so striking and unlike any other beauty in films. she was also voted the world most beautiful woman when she was freaking 65

im submitting her in honor of my dad bc she was the first celebrity crush of his he ever admitted to me and my sister :) and he was right. shes so pretty

OSCAR WINNER. Worked with some of the hottest leading men in Hollywood but remained faithful to her husband whom she had a loving marriage with till he died (even though Cary Grant almost tempted her once, it's complicated)

One of the most well-known sex symbols of the Golden Age of Hollywood, and unlike some unfortunate others, she seems to have been pretty well at peace with occupying that status. She made assertiveness and a tempestuous temper seem glamorous, and although she's famous for side-eying Jayne Manisfield's cleavage, honestly? She's one to talk.

Absolutely, drop-dead sexy, also a hard working, extraordinarily talented actress who didn't shy away from the less glamorous roles to gift us some gritty, memorable performances

Submitting this on behalf of my dad, who knows nothing of tumblr or this blog, but I remember being a kid watching Houseboat while my mom thirsted after Cary Grant, dad thirsted after Sophia Loren, and I was excited that they lived on a boat. Anyway, she's extremely beautiful and was an international star, doing a ton of movies in Italy before being recognized in the US.

JUST LOOK AT HER Y'ALL

Very smart and beautiful, the characters that she played (I mean those in the movies that I put in the previous question) are as strong and determined as her which I think adds to her hotness.

Global superstar and my late grandfather's long time movie star crush and for a man as quiet as he was, and as hopelessly devoted to his wife as he was, the fact that I know that means she was EXCEPTIONAL.

Big in the chest, snatched in the waist, pretty in the face 😳

Sexy, beautiful, deep. A real star.

Her performance in "Man of La Mancha" is just so very captivating. Dubbed as "the Italian Marilyn Monroe", she looks beautiful in any movie and at any age.

Forget the exotic sexpot of her Hollywood films and go back to her Italian career: sparking with Marcello Mastroianni as the woman who drives him mad and outwits all his fumbling attempts at macho posturing in their early films, and showing a tender side in their 1970s films. Sophia isn’t self-conscious about who she is or her beautiful body: she enjoys being herself and she wants us all to enjoy ourselves too.

She starred in films as a sexually emancipated persona and was one of the best known sex symbols of the time. She is a great cook and her filmography is immense.

On the misattributed quote that Sophia owed everything to spaghetti: 'Did you actually say the quote frequently attributed to you, "Everything you see I owe to spaghetti"?' "Non è vero! It's not true! It's such a silly thing. I owe it to spaghetti, no, no. Completely made up."

Mbissine Thérèse Diop:

[ltwilliammowett]

The grenade

The grenade (grenade is likely derived from the French word spelled exactly the same, meaning pomegranate, as the bomb is reminiscent of the many-seeded fruit in size and shape. Its first use in English dates from the 1590s.) as we know it today is not a modern invention - on the contrary, it has its origins in late antiquity and the early Middle Ages.

First grenades appeared in the Eastern Roman (Byzantine) Empire not long after the reign of Leo III (717-741). Byzantine soldiers learnt that Greek fire (a mixture of sulphur and oil), a Byzantine invention from the previous century, could be thrown at the enemy not only with flamethrowers but also in stone and ceramic vessels.

Byzantine " Greek Fire" Grenade, c. 800-1000 AD

With the invention of gunpowder in Song China (960-1279), weapons known as ‘thunderbolts’ were created by soldiers packing gunpowder into ceramic or metal vessels with fuses. In a military book from the year 1044, the Wujing Zongyao (Collection of Military Classics), various gunpowder recipes are described in which, according to Joseph Needham, the prototype of the modern hand grenade can be found.

The grenades (pào) are made of cast iron, are the size of a bowl and have the shape of a ball. They contain half a pound of ‘divine fire’ (shén huǒ, gunpowder) inside. They are sent by an eruptor (mu pào) towards the enemy camp, and when they arrive there, a sound like a thunderclap is heard and flashes of light appear. If ten of these grenades are successfully fired at the enemy camp, the whole place goes up in flames.

Grenade-like devices were also known in ancient India. In a Persian historical account from the 12th century, the Mojmal al-Tawarikh, a terracotta elephant filled with explosives was hidden in a chariot with a fuse and exploded as the invading army approached.

These encrusted hand grenades were washed up from a 17th-century pirate shipwreck, Dollar Cove, in the coastal Gunwalloe district of Cornwall's Lizard Peninsula

The first cast-iron bombs and shells appeared in Europe in 1467, where they were initially used in the siege and defence of castles and fortresses. In the mid-17th century, infantrymen known as ‘grenadiers’ emerged in European armies, specialising in shock and close combat, usually using grenades and engaging in fierce hand-to-hand combat. But grenades have also been in use at sea since the 17th century. They were used to inflict as much personal damage as possible below deck after boarding a ship by throwing the grenades underneath.

After the middle of the 19th century, grenades were used extensively in the Crimean War and the American Civil War. Before they changed in design and function to be used in the trenches, especially in the First World War and later. They are still in use today.

Forbes, Robert James (1993). Studies in Ancient Technology

Thomas Enke: Grundlagen der Waffen- und Munitionstechnik

David Harding (Hrsg.): Waffen-Enzyklopädie

Bertram Kropak: Die geschichtliche Entwicklung der Handgranaten. In: DWJ Deutsches Waffen Journal. 1970

[wheelsgoroundincircles]

FORD MUSTANG BOSS 302

BOSS-A-NOVA!

They called it The Boss and for two short years it ruled the muscle car scene in the US, establishing itself as one of the greatest road and race cars of the era. Now, it’s one of the most collectible.

In 1960s US street lingo, if something was ‘boss’ it was cool, tough, the best. And the 1969 Boss 302 Mustang wore its badge with pride. It launched just four and a half years after the first Mustang was revealed to critical acclaim and record sales. Yearly updates to keep Mustang fresh in the face of tough new challengers from General Motors and Chrysler (particularly the Camaro) resulted in the once lean and pretty ’Stang muscling up, both in body shape and under-bonnet brawn, and the 1969-70 Boss models were the zenith of Mustang styling.

Thereafter, Mustangs became increasingly bloated and anaemic as the 1970s fuel crisis and stricter pollution laws cut horsepower and stylists lost their way; the rippling flanks and thrusting nose of the late 60s/early 70s cars gave way to boxy, bland designs. That early look would not be recaptured until 2005, when new Mustangs were given retro styling.

The Boss 302 was launched at the same time as its big-block brother, the Boss 429. Both were positioned as competition specials; Ford wanted to homologate its 302-cuber for Trans-Am and the 429ci monster for NASCAR. In fact, Ford went wild with engines between 1969-70, offering nine V8s – the ‘economy’ 302, 351 Windsor, 351 Cleveland, 390, 428 Cobra Jet, 428 Super Cobra Jet, 429 ‘wedge’, Boss 302 and Boss 429.

For the Boss 302, Ford’s high-compression 302ci small-block V8 was beefed up with four-bolt main bearing caps and redesigned ‘Cleveland’ cylinder heads with bigger inlet and exhaust valves, and ports that allowed the engine to breathe more efficiently.

These ‘semi-hemi’ heads were based on the Ford 427ci racing engine’s combustion chambers, and a balanced forged steel crankshaft and forged steel conrods allowed the engine to handle high rpms for sustained periods. A single 780cfm four-barrel Holley carburettor sat atop a high-rise aluminium inlet manifold, while a dual-point distributor, high-pressure oil pump, windage tray and screw-in welch plugs were further indications of its competition intent.

A rev limiter was fitted, progressively cutting spark from 5800rpm to 6150, but it was easily bypassed and the Boss 302 could reportedly keep making power up to 8000rpm with minor mods. In the muscle car marketing war, Ford claimed a peak horsepower figure of 290bhp at 5800rpm (the same as the Camaro Z/28), but that was extremely conservative.

Two four-speed manual Top Loader transmissions were available: a wide-ratio ’box with Hurst shifter more suited to street and strip use, and a close-ratio unit for racing. Adding to the race or road options list were four diffs: the stock 3.5:1 nine-inch, Traction-Lok 3.5:1 and 3.91:1 and the No-Spin 4.30:1 built by Detroit Automotive. Axles and diff centres were also strengthened to take the loads.

Suspension was also race-inspired with heavy-duty springs, shocks and sway bar up front, and Hotchkiss-style rear suspension with heavy-duty leaf springs, sway bar and staggered shock absorbers. The left-hand shock absorber was bolted behind the axle and the right in front, to reduce axle tramp under acceleration. Amazingly for such a high-performance car, braking was still only discs and drums with power assistance.

Ironically, the Boss 302’s sexy shape was styled by former General Motors designer Larry Shinoda, who is often credited with coming up with the Boss moniker. When asked what he was working on, he replied, "The boss’s car", a reference to new Ford president ‘Bunkie’ Knudson, who was also ex-GM and had recruited Shinoda to Ford.

While the wheelbase remained unchanged at 2740mm, the ’69 Mustang was 96.5mm longer overall to accommodate all the V8s offered, although the big-blocks still had to be shoe-horned under the bonnet. Shinoda’s ’69 Boss 302 was also one of the first production cars to offer an optional front air dam and adjustable rear wing, and his use of high-contrast black panels, rear window SportsSlats, and go-faster stripes made the Boss a real attention-grabber. The ’69 was also the only quad-headlight Mustang, a feature that was dropped for 1970 models.

In 1970, American Hot Rod magazine dubbed the 1970 Boss 302 as "definitely the best handling car Ford has ever built", while the conservative Consumer Guide called it "uncomfortable at any speed over anything but the smoothest surface". Unique Cars resident Mustang maniac, ‘Uncle’ Phil Walker, never read the Consumer Guide review, but even if he had it wouldn’t have stopped him buying the immaculate 1970 Grabber Orange Boss 302 you see here.

Phil already has his beloved 1966 Shelby GT350H, but the Boss 302 really got his Mustang juices percolating. And he wasn’t alone, because the first Boss he saw, some 43 years ago, is still one of Australia’s most iconic race cars: Allan Moffat’s Trans-Am racer. Phil remembers it clearly.

"I saw Moff race it Calder and I was inspired to own one," Phil recalls. "It was the most aggressive-looking car; its stance was something you had to see to believe. It looked like it was doing a million miles per hour when it was parked.

"My Boss was originally a one-owner car and I bought it from a friend of mine in California, Dave, who I also bought my Shelby GT350H from 19 years ago. Dave found it in a barn with a blown engine, but in otherwise pretty good condition.

"The lady who owned it from new didn’t realise it had a high-compression engine and had run it on standard fuel. When it blew up she just parked it.

"Dave did a nut-and-bolt restoration over two years, then put it up on his hoist. He didn’t want to sell it, but I got my way in the end – unfortunately he had the last say on the price (laughs). I didn’t even bother to test drive it; I knew it was a good car. It had 21 (new) miles on the odo when I picked it up and only 54,000 miles in total."

Since then, Phil has only put a couple of hundred miles on the car, but that’s enough for him to have bonded with it.

"I’ve only had the Boss since January and it’s growing on me. It’s different to the Shelby. It’s bigger and very low.

"The engine is incredible. Dave is one of the best engine builders in California and when he rebuilt the 302 he changed the cam spec. US camshaft technology was okay in the 60s and 70s, but if you had a big-cam muscle car they wouldn’t idle and they were terrible for driving in cities.

"A proper Boss engine can rev to 8500rpm all day and for a V8 that’s pretty serious. But they’re not renowned for low-down torque; it starts coming on from 3500rpm. My car still has a solid-lifter cam, but it pulls like a train from 1200rpm in top gear and I can drive it around at 1500rpm in top all day.

"It’s got the four-speed close-ratio Top Loader with the long first gear and with a 3.7:1 rear end it does about 55-60mph (89-97km/h) in first gear. It bloody goes!"

Phil is a fussy bugger and his cars have to look just right, so Russell Stuckey from Stuckey Tyres has ordered him a set of genuine 15 x 8 Minilites from England to replace the standard Magnum 500s.

"I want it to look like the Parnelli Jones race car, and to get the stance I want it’s going to have 275/60s on the rear and 255/60s on the front. At the moment it’s a pretty car that is tough, but I want a tough car that looks tough. And that’s all I’m going to do to it."

After his first real fang in the Boss, Phil felt that his Shelby would be half a lap in front at the end of a 10-lap sprint at Sandown, but now thinks the Boss would be quicker. We might have to put both to the acid test one day. What do you mean "no way", Phil?

It was a nervous Phil who turned up at a Melbourne storage facility in January to pick up his new Boss 302. So nervous, in fact, that he took along Unique Cars art director Ange and a sturdy tow rope – just in case.

The storage people were even more apprehensive – they had been warned about just how anal he is with his cars, as he explains: "The lady there said, ‘You must be pretty fanatical because we’ve been given strict instructions that no one is to touch the car except you’." Fortunately, the car arrived in pristine condition.

"I was pretty excited, I’d been waiting for seven weeks," Phil laughs. "I took the car cover off it, fired it up, and it drove home like a brand new car. It was as good as I thought it would be. I spent the next three hours washing it."

Sounds like our Phil.

PARNELLI AND ME

Three years ago, my mate Dave and I were invited to a Trans-Am dinner at Portland International Raceway where Dave was racing his 1970 Trans-Am Boss 302 and I was crewing for him.

When we were driving there we noticed this black Mercedes following us. When we stopped it did too and this bloke got out and said, "I noticed you guys back at the hotel. You’re going to the Trans-Am dinner aren’t you? I’m lost." It was Parnelli Jones!

I jumped in with him and when we got there I ‘invited’ myself onto Parnelli’s table, which also included Pete Brock – the guy who designed the Shelby Daytona Coupe. There was I, Mr Nobody, with all these US racing heavies, but Parnelli was a real gentleman, not up himself in any way.

The next day they had free lap time at Portland and, when I saw Parnelli there with Ford’s new ‘Parnelli Jones’ Boss 302 tribute Mustang, I asked if there was any chance of a ride and he said jump in. We did 10 laps and the guy hadn’t lost any of his ability; my eyes were getting bigger and bigger coming into the corners.

It was a great experience that I’ll never forget. – PW

IT's MINE...

Moff’s Mustang is probably the most iconic Australian racecar and after seeing it I was inspired to own a Boss Mustang. Then, about 25 years ago, I went to Pebble Beach in Monterey for the first time and saw a 1970 Grabber Orange Boss 302, which was the colour Parnelli Jones raced in Trans-Am. That day I knew I had to own a Boss. It was the car I’d always wanted after my Shelby, which was my lifelong dream car.

My Boss 302 is fully optioned, including the Shaker, extra side mirror, tacho and rear louvres, and it’s got a lot of wow factor. When you drive down the freeway, you get the thumbs-up from all sorts of different people. I think it’s the colour.

It’s closer to show standard than my Shelby. It’s got the paint marks on the tailshaft and all the little concours details, but I’m never going to show it; I’m not into that.

The 1969/70 body shape is still the best. Ford got it right then, but lost the plot after that and it’s reflected in their collectibility today. – PW