#and a distinctive cultural heritage.

[lionheartlr]

Discovering Brunei: A Jewel of Southeast Asia

Nestled on the northern coast of the island of Borneo, Brunei is a small yet fascinating country that often goes unnoticed by many travelers. Officially known as the Nation of Brunei, the Abode of Peace (Negara Brunei Darussalam), this sultanate offers a unique blend of rich history, lush landscapes, and a distinctive cultural heritage. A Brief History of Brunei Brunei’s history dates back to…

[pronouncingitwang]

.

[punchholesinthesky]

this morning i took half an adhd pill and now i've got an 8 page doc and 9176737103487 tabs open on theories and discussion about the early peopling of America

[globalfloor]

If you are looking for Living Room Carpets and Rugs you may contact us at info@surekasgroup.com or whats ap at +91-9839141651

[kaalbela]

Tatreez (Arabic: تطريز) is a type of traditional Palestinian embroidery. Tatreez uses traditional cross-stitch embroidery and is practiced largely among women. The craft was originally practiced in rural areas of Palestine, but is now common across the Palestinian diaspora. Historically, each village in Palestine had their own tatreez patterns. The landscape was a major source of inspiration for the patterns and motifs, which speaks to the variation in style that was common to see among all of the different tatreez expressions that were particular to each Palestinian village.

After the violent displacement and dispossession of Palestinians in 1948, people were living together in refugee camps. The different styles of tatreez became less distinct and have continued to evolve with the diaspora. Following 1948, tatreez evolved to reflect the experiences of Palestinians. Palestinian women began to incorporate the Palestinian flag and its colors into their tatreez as a means of resistance to the occupation of Palestine. Consequently, tatreez became an expression of the identity, heritage and resistance of Palestinian women and their dedication to preserve their ancient culture.

1 / 2 / 3 / 4 / 5 / 6 / 7 / 8 / 9 / 10 / 11 | textile series

[foldingfittedsheets]

No one made any distinction to me when I was growing up when a word wasn’t English. Andale was just another way to be told “hurry up,” and I was certain other parents told their kids, “Watch your cabesa,” when getting into the car. I laughed myself sick the first time I saw Dragon Ball Z because a ladies name was Chi Chi and I only knew that meant boobs.

All my moms family was brown and I desperately wished I was too. I wanted beautiful black hair like my mom and dark skin that didn’t burn. I didn’t like when people asked my mother if she was my nanny when they saw us together. I didn’t like that people told me I looked like my dad. They just meant I was pale.

I’d proudly announce to people that I was Mexican and become furious when they gaped or disbelieved me. My dads side has no cultural roots. When questioned my dad shrugs and says, “English maybe? I dunno.” I just wanted to be Mexican growing up. Alas, I’m only a quarter descendant of an immigrant family who vehemently didn’t want to be Mexican.

My great grandmother announced that we were American now, not Mexican. She embraced American culture as much as possible, while never learning English. My nana was put into school and punished anytime she spoke Spanish. She got caught halfway between both languages. Forced to spend her childhood raising her younger siblings she never learned to cook tamales with her mother and her friends.

When she had her own children she didn’t teach them Spanish. She used it to gossip with her own friends about them on the phone and resisted teaching them more than to come running when she shouted “Araña!” to kill a spider for her.

Thus came my mom, with her brown skin and dark hair, adrift from her culture but treated as lesser by her adopted one. My great grandmother would rejoice to see me as her descendant, white, ignorant of Spanish, the perfect American she wanted her family to be.

When I was born my nana shouted, “What’s that red on her?” only to realize it was my hair. She delighted in her palest grandchild, telling me often I was her favorite.

I’m used to the disbelief now when I tell people I’m Mexican. I can laugh and show pictures of my mom. My friend from work joked to me that I’m always coming out of the closet, over and over, because both my minority statuses aren’t as visible as her black skin.

I was recently lamenting this to a white southern friend the same one I cast psychic damage on during a DnD day. “I wish I could feel more connected to my culture, but I’d be such a fraud pretending my life is the same as other Hispanic people.”

“Skin color doesn’t matter,” he announced blithely to the choked outrage of our Indian friend in the kitchen, “You’re just as Mexican!”

I regarded him in astonishment and said, “I think skin color matters a lot. I am Mexican, but I don’t have the same cultural roots or experiences of people who are perceived as Mexican. My family didn’t pass the cultural heritage down. I think a lot of immigrant kids feel this way but it’s different for me.”

He rambled about how I’m just as valid and I quietly disregarded his advice. I could try to reconnect with my roots, but I know I’d just be another white girl pushing into a POC space.

Instead I make tamales by myself, sweating over the steaming corn husks, and I snap at people who make racist jokes about my family to me, feeling safe because my skin is the same color as theirs.

[creatingblackcharacters]

“Across cultures, darker people suffer most. Why?” Multiethnic and Multicultural Blackness

“Across cultures, darker people suffer most. Why?”- Andre 3000

Tell me what's wrong with this picture.

Hint: This is Miles Morales- from the video game depiction- canonically an Afro-Puerto Rican. Jefferson is Black American; Rio is Puerto Rican.

So why is the Cuban flag on their wall?

This is what happens when no one (with any saying power) in the board room is representative of the group being depicted! And mind you, this was produced under SONY and MARVEL, for the PS5, a product under two brands that combined churn out hundreds of millions in profit! And… No one on any level corrected them until the beta came out and fans saw it. That's how pervasive this sort of ignorance of other cultures can be. How are you writing a story about a character, and you don't even know how he identifies?

Multiethnic & Multicultural Blackness

Realistically, you’ve probably walked past many a biracial, multicultural, or multiethnic Black person before and assumed they were “just Black”. One example: Rae Dawn Chong- known as Mama du Pointe du Lac- is Afro-Chinese, but that Chinese background did not play into the role she played. A more personal example: my recent loctician was also Afro-Chinese, with very dark skin (she made jokes about how her eyes reveal it, but we can’t make those jokes here). I would have never known.

Point is, we reacted to what we saw, and that’s not an accident. Blackness is treated as a monolith, and an indicator of social level whether you realize it or not. You see a ‘Black’ person, and without wondering any further about their identity, you will treat them as you’ve been socialized to treat ‘Black’ people! But every Black person is not the same!

You don't have to write an entire essay with citations mid-story about how you learned so much about the Afro-Chicana or Afro-Iraqi experience for your main character. We didn't ask. But, slipping natural things here and there into the story of a character’s culture helps cement that yes, this character has this multicultural identity and it matters to them; it is who they are, it has an effect on their life and character in some way. It is how you deepen the character and show respect for the culture you are depicting!

I love using Miles as an example, so here’s a good example. In Across The Spiderverse, he goes to a party to celebrate Jefferson’s new position. In that scene, Rio walks through a mix of all his family members. Even when he speaks with his parents in this scene, they managed to incorporate his Afro-Puerto Rican identity without shouting to the rooftops “HEY! HE’S BLACK AND LATINO! SEE HOW I’M TELLING YOU?”

Race vs Ethnicity

The Black experience stretches as far as the African diaspora- worldwide! It's why it's frustrating when people assume "Black people" means "United States" and the West's perception of "Third World Africa" (especially when it comes to existing in media that people have strongly claimed is just White). Latin and Central America? West Europe? East Europe? Southwest Asia and North Africa? The Mediterranean? East Asia? Australia? You will find Black people!! Just because we aren't the majority doesn't mean we aren't there!

But just because we're Black doesn't mean we're all "African-American". Ethnicity is "the quality or fact of belonging to a population group or subgroup made up of people who share a common cultural background or descent." Race is "a categorization of humans based on shared physical or social qualities into groups generally viewed as distinct within a given society."

"But I thought you said Black is an identity!"

It is! Black does not only mean “Black American”. The reason Black Americans identify as just Black (which is why I demand that you show respect by capitalizing it) is due to the loss of our specific heritages from the enslavement meant to scourge us of them, to make us property. To call us by our actual names would be acknowledging our equivalent humanity and culture. In order to enforce slavery without qualm, they had to be violently removed. Black Africans of numerous ethnic groups, now violently forced into this amalgamation, had to come together and forge something new. We had to find a common connection- our Blackness (and that experience as defined by whiteness in this society) was it. It also functions as a reclamation of our identity, of our presence in this world. We are a culture, we are an entire group of people, and we should be acknowledged as such.

Again: all Black people are NOT the same!!! This is like… anti-racism 101, but so many people continue to fall for it, even those ‘well-meaning’. You cannot ask one Black person to represent the ENTIRETY of the world's Black experience. Many other factors will come into play, and this includes their culture.

Keep in mind how being multicultural and/or biracial and Black will put many people at a crossroads that is complex and difficult to traverse. There will always be parts of incomplete acceptance, an extra layer of code-switching based on where you are and who you're with. A Black Kenyan is not a Black American, who is not a Black Greek, who is not a Black Colombian, who is not a Black Filipino. They're different cultures, that will treat each other differently. Society- from strangers to your own family- may try to pull multiethnic Black people one direction or another- are you ‘Black’ enough, are you ‘technically Black’, are you ‘technically’ something else, are you that ethnicity enough?

(I will discuss Black biracial people with whiteness in the next lesson, because I felt like the interracial and biracial White & Black topic needed its own talk, but this is relevant there as well.)

Where- In the world- Is-

Coming back from the opening of this lesson: keep in mind that you need to know specifically WHERE your character is from! For example, just saying they're "Afro-Latino" reveals very little- there's an entire chunk of the planet that falls under the "Latin America" category (as defined by U.S. standards).

A follower of mine- they identify as Caribbean Latine- sent me this in discussion about the topic:

"I wish people actually thought about where their Afro-Latino characters are from. It’s always very vague and it’s so reductive because an Argentinian Afro-Latino is very different from a Puerto Rican Afro-Latino. This is very subjective but I think this issue is pretty blatant in The Owl House. They flash the Dominican flag a couple of times, but when it comes to actually making her Afro-Latino…I don’t think they did a very good job. They barely made her Black in the first place. I don’t want to dog on the voice actors too much because there are a million factors that might have affected this but. When they make a point to have the characters speak Spanish, it’s really noticeable when the accent/dialect doesn’t align with their ethnicity. Dominicans have a really identifiable dialect in Spanish. When the Afro-Latino characters speak in Spanish, it’s the most neutral accent I’ve ever heard. This is such a me-issue, but this is to say that people should actually research where their characters are from instead of vaguely painting them as Afro-Latino. We are all SOOO different. Our dialects vary so much that sometimes an Afro-Mexican and an Afro-Puerto Rican won’t understand each other even though we speak the same language.”

WHO are we talking about? How does that factor into their identity, and the way the world- both in story, and how readers from around the world- will perceive them? Will an Afro-Dominican know that they're supposed to relate to your character if they're vaguely Latino?

Note:

While I was doing my research, I noticed that searching for “Afro-_” doesn’t always offer much, as it does the ubiquitous antiblack experience and roles in politics and resistance. And while I think that’s super cool and mandatory, I think another way to approach this would be to focus on the culture as a whole, and then go from there. So for example, if I wanted my character to be Afro-Mexican- maybe even from a specific location in Mexico, or their family is from that area- it would be easier to look up the cultures and activities of that area itself, and then inform with my knowledge of how Blackness is treated there.

As I am not a member of these groups, I thought it would be better for me to find resources that better explain, than to try to speak for them myself. Hell, just from doing this research, I learned that I have far more to educate myself on. There are so many good resources out there! People speak on these topics that y’all want to know about, and there are so many books and videos- find them and educate yourselves! This is a long section filled with links, so I'm going to put them under a readmore.

I also could not possibly sit here and name every single ethnic combo because that would be endless. So what I'm going to do is give some broad strokes of a few major groupings, that will hopefully start you on the path of how to conduct your own research!

The African Diaspora

This is such a good resource. There are short chapters going into the details and history of Black people in many regions, all around the globe. I’m honestly in love with how this is set up. It's a good starting point!

Black Africans

This one isn't specifically an example of multiethnicity; I just want to emphasize that there are many ethnicities and cultures within Africa itself! One is still multiethnic if they are Black American and Ivorian, for example! As the birthplace of humanity, there are plenty of ethnic groups in Africa with endlessly rich cultures, and all of them will come with different foods, fashions, languages!

Notable Figures: Nelson Mandela, Tobi Lou, Patrice Lumumba, Tems, Wizkid, Kwame Nkrumah, Chinua Achebe, Chimamanda Ngozi Adichie, Wangarĩ Maathai, Agnes Tirop, Chéri Samba, Sheikh Abdullah Ssekimwanyi

Internalized antiblackness in African countries is due to the long and violent history of western imperialism in Africa. “The Carving Up of Africa” by European nations has long worn on the continent, its resources, and its peoples, and that includes remnants of their beliefs. Another pervasive idea in media is that all African peoples are ‘poor’, ‘living in huts’, and ‘starving’. There are people doing that all over the world, it is not inherent to being Black African. But even if that were the case- and it is not, every African does not live that way- it would still be the fault of aforementioned imperialism. Please do your research, and do not EVER write that if someone is African, they ‘must not be used to food’ or ‘have never seen such magnificent things as [what white character offers]’.

Afro Latinos

Notable figures: Celia Cruz, Frantz Fanon, Zoe Saldaña, Colman Domingo, Lupita Nyongo, Gina Torres, Cardi B, MJ Rodriguez

Notable music styles- Reggaeton? Salsa? Rumba? A lot of the best music of the area has roots in Blackness.

Antiblackness in the Afro-Latino community

Colorism plays a huge role in perception, to the point of putting you into classes of people. From the same Caribbean Latine follower:

Also, they have to do research on racial groupings in LATAM. It’s unavoidable. A Latino that’s considered Black in the USA may not be considered Black in LATAM. This is because of Blanqueamiento. That is a LOT to explain, but TLDR: A big difference between racism in the USA and racism in LATAM is that white people aren’t focused on segregation. It’s racism through imposition. “Blanqueamiento” refers to whitening and it’s the belief that you can cleanse the bloodline by having children with white people. The lineage will get increasingly lighter. That is why whenever a child comes out lighter than their parents, people will praise the parents for “bettering the race” (mejorando la raza). So a light skinned Black person in the USA may have another racial classification in LATAM (prieto, moreno, mulato, etc)."

One example is 'pelo malo' (bad hair)- how afro-textures are deemed unwanted, as a holdover from Spanish colonization and ideas of whiteness being equivalent to purity. Another severe example is of the slur "mayate"- apparently, it means "f*ggot black bug". If you're Black, and someone ever calls you this, know that you are being severely insulted. If you are interested in more Afro-Mexican history, Colonial Blackness by Herman Bennett is a book that follows the stories of enslaved Africans and their descendants in 17th century Mexico, questioning the existing history told that often leaves out their presence.

Afro Indigenous

*Indigenous doesn't just mean "to America", though the links are to the Afro-indigenous experience in the U.S.

Notable Figures: Crispus Attucks, Lucy Parsons, George Henry White, Charlie Patton, Jimi Hendrix, Eartha Kitt, Lena Horne, Ausben Jordan

What’s interesting is that it was much harder for me to find solid evidence of people who are Black Natives, mainly because it seems this history was lost and/or never recorded, or due to Blood Quantum and antiblackness, not acknowledged. That is something worth thinking about, if you are writing an Afro-Native character.

Blood quantum: A system developed by the United States federal government to determine how much “Indian blood” an Indigenous person has and if they are qualified for Tribal enrollment. Blood quantum limits accessibility to citizenship and is designed to decrease enrollment numbers. Today, some tribes still use blood quantum as criteria for Tribal enrollment. As part of their sovereign status, every federally recognized Tribe determines its own criteria for membership and enrollment.

Further reading:

Young, Black Native activists say it's time to appreciate Indigenous diversity

Black Indians: A Hidden Heritage

Blood Politics: Race, Culture, and Identity in the Cherokee Nation of Oklahoma By Circe Sturm (2002)

We Refuse to Forget: A True Story of Black Creeks, American Identity, and Power By Caleb Gayle (2023)

Afro-Arab/SWANA

Notable figures: Bilal ibn Rabah, Fatima Bernawi, Layla F. Saad, Samirah Srur Fadel, Ahmed Osman, Sara El Hassan (known as bsonblast), Ali Jiddah, Maryam Abu Khaled

Here's an amazing resource cataloguing the history of Afro-Palestinians, as well as a timeline of the solidarity between Black Americans, Afro-Palestinians, and Palestinians!

I sat here and tried very hard to come up with a way to summarize this, especially given current events in our world, and I found that at this moment, I lack the skill to do it. Not because there’s nothing to say- God knows there’s plenty- but unraveling the intersections that comes with the SWANA experience would take me far longer than a summary. I think Maryam Abu Khaled can speak on her experience far better than I, anyway:

Afro-AAPI

Notable figures: apl.de.ap, Michael Ealy, H.E.R., Karrueche, Rae Dawn Chong, Naomi Campbell, Naomi Osaka, Chanel Iman, Anderson Paak

Interview from famous R&B artist, guitarist, actress for Belle, and Afro-Filipina: H.E.R.

There is a strain between Black and Asian communities, in the United States and beyond, white supremacy playing a major role. But that does not mean that we cannot move forward together, or have not shown one another solidarity.

One of my biggest pet peeves that happens often in fandom spaces is fans who claim that Asians- East Asians in particular, but Asians in general- don't know what Black people are and what we look like. It's racist to every ethnicity and background involved. Yes, there are Black East Asian and Black South Asian people. Yes, these countries have access to the Internet to look up what we look like. There have been plenty of well-drawn Black people by those artists. Just like every white artist isn't going to draw a caricature, every Asian artist isn't going to. It all comes down to practice, their commitment to their craft, and their commitment to not being racist. Being from these areas is not an excuse for not drawing Black people accurately- the same amount of effort they can be put into depicting a white person (that would also be a minority in these places), can be put into depicting us as well. Knock it off.

Conclusion

Antiblackness is unfortunately ubiquitous, yes, but that doesn’t mean the rest of every Black person’s life experience is going to be. We are everywhere on this planet, which means there’s a planet’s worth of experiences to be had. If you decide that you want to create a Black character with a multiethnic or multicultural background, you need to commit to that! Even by mentioning their music, or their food, or- if you’re going to get into it- how others might treat them due to their Afro-identity. Something that lets us as the viewers know that you didn’t just write a white person and then claim they were “Afro-Blank” for clout. If you mean it, do it, because as always, it’s the thought that counts, but the action that delivers!

[kleopatra45]

Sun in the Houses

In astrology, the Sun represents the essence of our being, our core identity, and vitality. As it moves through the twelve houses of the zodiac, it casts its illuminating light on different aspects of our lives, shaping our personality, ambitions, and experiences in distinct ways.

1st House: The House of Self

When the Sun resides in the 1st house, it shines a spotlight on your identity, physical appearance, and how you assert yourself in the world. Individuals with this placement often have a strong sense of self-expression and are seen as confident and assertive.

2nd House: The House of Values

Here, the Sun emphasizes your values, possessions, and sense of self-worth. It highlights your material goals and how you seek security and stability. People with this placement often have a strong desire for financial independence and may excel in endeavors related to money and resources.

3rd House: The House of Communication

In the 3rd house, the Sun influences your communication style, intellect, and immediate environment. It emphasizes learning, networking, and sharing ideas. Those with this placement are often articulate, curious, and enjoy mental stimulation through diverse interests and social interactions.

4th House: The House of Home and Family

When the Sun occupies the 4th house, it illuminates your roots, emotional foundations, and sense of belonging. It signifies your relationship with family, home environment, and private life. Individuals with this placement often prioritize emotional security and may have deep connections to their heritage and upbringing.

5th House: The House of Creativity and Romance

Here, the Sun radiates creativity, self-expression, romance, and pleasure. It emphasizes hobbies, artistic talents, love affairs, and children. Those with the Sun in the 5th house often have a flair for drama, enjoy being center stage, and seek joy through creative endeavors and passionate pursuits.

6th House: The House of Service and Health

In the 6th house, the Sun highlights your work ethic, daily routines, health, and service to others. It emphasizes practicality, efficiency, and attention to detail. Individuals with this placement often find fulfillment through helping others, maintaining order, and achieving personal wellness goals.

7th House: The House of Partnerships

When the Sun moves into the 7th house, it emphasizes relationships, partnerships, and collaborations. It highlights your approach to one-on-one connections, marriage, and the balance between self and others. People with this placement often seek harmony, fairness, and companionship in their personal and professional lives.

8th House: The House of Transformation

In the 8th house, the Sun delves into deep emotional bonds, shared resources, intimacy, and transformation. It signifies psychological growth, power dynamics, and the mysteries of life and death. Those with this placement often experience profound changes, inner strength, and may be drawn to occult or metaphysical studies.

9th House: The House of Philosophy and Higher Learning

Here, the Sun illuminates your beliefs, ideals, higher education, travel, and spiritual quests. It emphasizes expansion of the mind, cultural experiences, and philosophical pursuits. Individuals with this placement often have a broad worldview, seek meaning through knowledge, and thrive in exploring different cultures and belief systems.

10th House: The House of Career and Public Image

When the Sun reaches the 10th house, it highlights your ambitions, career path, public image, and reputation. It signifies your professional achievements, authority figures, and how you contribute to society. People with this placement often aspire for success, recognition, and may excel in leadership roles.

11th House: The House of Community and Aspirations

In the 11th house, the Sun emphasizes your social circle, friendships, group affiliations, and long-term goals. It signifies humanitarian efforts, innovation, and collective endeavors. Those with this placement often value friendship, progressive ideals, and may be drawn to activism or causes that benefit society.

12th House: The House of Spirituality and Inner Life

Here, the Sun illuminates your subconscious mind, solitude, spiritual pursuits, and hidden strengths. It signifies introspection, compassion, and the connection to the universal consciousness. Individuals with this placement often have a rich inner life, empathy for others, and may find fulfillment through creative or spiritual retreats.

©️kleopatra45

[headspace-hotel]

I hope I can express this properly and sensitively, but I think oftentimes people need to have Categories and Identities and to be healthily exploratory and playful and elastic about them, else they can get vulnerable to some negative things, sometimes really awful things

I wish I could remember where I read it, but there was something that wrote about whiteness in America as an abyss.

Whiteness is something that sheltered white Americans' ancestors, and at the same time devoured them. They used to have a distinct medley of heritages: Irish, German, Scottish, Italian. "Whiteness" ate it up, the languages, the cultures. There were privileges if you destroyed it, and punishments if you held onto anything that was "Other." In a white supremacist society, white people wanted to be "white" first before any other possible identity or connection they could have.

Yay! You're white. You're on top. You win...what? Turns out the prize for "winning" is just that you get to perpetrate the violence of the game instead of being on the receiving end of it.

And that's the nasty twist—there is no prize. The deeply embedded vice of "Southern pride" is not just what the Confederate flag stands for, but also why they've got to cling so hard to that symbol of traitors and losers: they need to be on top of something so bad that even a pile of shit will do. My ancestors were ultimately dirt poor, loads of them ending up in prison or breaking their bodies down doing hard labor, but they were white. Their reward, and their pride, was being stepped on by the violence of poverty only, instead of also by the violence of white supremacy.

"White pride" is all about hate because white supremacy didn't give these folks anything to be proud of. It stripped away the culture and heritage their ancestors had in favor of "whiteness." All those jokes about how white people have no culture, well, it's true isn't it? This shit is how we ended up a primarily monolingual nation. And what looks like happened is that white Americans wound up just...scavenging most of their culture from those they oppressed. Food, music, all of that stuff. Our white ancestors didn't GIVE us anything that was their own to start with.

And this is something that really strikes me about the white supremacist and fascist movements nowadays: the starvation and hollowness behind them. These folks are empty inside. They were given nothing by white supremacy except a very vague sense that they deserve something, and they see people of all different cultures celebrating and flourishing in their unique heritages and identities, and they feel like...they've been cheated.

Equality is so threatening when you're in this situation because it feels like you've got less than everyone else at the end of the day. Not just because of comparison to previous privileges, but because your whole identity was "person that gets to step on everybody else" and your whole inheritance was "shit stolen from everybody else" and in a world where all is set right, you have no identity and nothing. You are nothing.

Anyway I was looking just now at a blog that seemed really white-supremacist-leaning and it was 99% about like, Norse and Proto-Indo-European paganism and "traditionalism" and that's what got me thinking about this again.

This person had apparently done DNA tests on themselves or something, and were really fixated on figuring out their Norse and Germanic ancestors and separating out their genetic and racial identity at a level of precision that seems really pointless that far back in time. And honestly all the paganism stuff seemed like totally arbitrary speculation as well.

And how to become satisfied as a person like this? I am just as much Germanic or Norse as they are, but I don't believe that distant ancestors determine who you are to such an extent that I have some sort of innate cultural tie to Vikings or Visigoths or what have you. I know what percentage Celtic or Anglo Saxon or Norse I am—zero. I learned about those things in books the exact same way I learned about all the cultures and past kingdoms of the world that I presumably don't have ancestors from.

I feel like the experience of being a baby ally and obsessing about apologizing for being white is the same kind of thing in another direction, or another outcome of the same process. Some people seem to get really twisted up for a time over how to stop being guilty about being white.

It's part of the same thing as this guy who is trying to genetically identify his ancestors from like 3,000 years ago. It's the emptiness and meaninglessness of "white" identity apart from white supremacy.

I talk about deradicalization sometimes and I've had the notion a few times that fascism appeals to people who are hollow and starving in terms of identity, and if it wasn't for the sense of emptiness and hunger, they would be less easily radicalized. But it's also a little bit awkward to talk about the deeply unsatisfying nature of white supremacy, because...well, that is pretty low on the list of things bad about white supremacy.

I think this concept is worth talking about in general, though: People want to feel like they come from or are part of something meaningful. They are drawn toward Identities and Categories and Belonging to groups. This is something I think is commonly true about humans, I think it is normal and not a bad thing, and I think we could stand to be a little more upfront about its reality.

I think this means that wanting, and seeking, a sense of cultural identity as a white person (particularly an American) needs to have some kind of non-horrible outlet for it. Because right now, it's nothing but a way to get radicalized, and the dominant other option people take (becoming the Guilty White Person) is liked by no one and helps nothing.

And maybe it doesn't need to have anything to do with race or culture or your ancestors or any of these things that can lead a person down such terrible paths. Maybe more of us should be furries!

As just another thing to consider, I'm reading the book Ecology of a Cracker Childhood and the author of the book uses the word "cracker" not like, with the gravity of reclaiming a "slur" or something like that, but seemingly because that is just the word she most strongly identifies with, the word that best articulates who "her people" are. This feels very solid and levelheaded to me, something that comes from someone with a good sense of themselves.

Personally I've thought a long time that more people should reclaim "redneck." Not in the sense of reclaiming a slur exactly, but in the sense of putting it in neutral usage among the folks it always referred to, instead of letting it increasingly be associated with any Southerner (regardless of working class background) that is the sort to wave a Confederate flag around. The very idea of gatekeeping "redneck" away from racists is just absolutely hilarious to me, I won't lie.

[blueiscoool]

900 Artifacts From Ming Dynasty Shipwrecks Found in South China Sea

The trove of objects—including pottery, porcelain, shells and coins—was found roughly a mile below the surface.

Underwater archaeologists in China have recovered more than 900 artifacts from two merchant vessels that sank to the bottom of the South China Sea during the Ming dynasty.

The ships are located roughly a mile below the surface some 93 miles southeast of the island of Hainan, reports the South China Morning Post’s Kamun Lai. They are situated about 14 miles apart from one another.

During three phases over the past year, researchers hauled up 890 objects from the first vessel, including copper coins, pottery and porcelain, according to a statement from China’s National Cultural Heritage Administration (NCHA). That’s just a small fraction of the more than 10,000 items found at the site. Archaeologists suspect the vessel was transporting porcelain from Jingdezhen, China, when it sank.

The team recovered 38 items from the second ship, including shells, deer antlers, porcelain, pottery and ebony logs that likely originated from somewhere in the Indian Ocean.

Archaeologists think the ships operated during different parts of the Ming dynasty, which lasted from 1368 to 1644.

Many of the artifacts came from the Zhengde period of the Ming dynasty, which spanned 1505 to 1521. But others may be older, dating back to the time of Emperor Hongzhi, who reigned from 1487 to 1505, as Chris Oberholtz reported last year.

Archaeologists used manned and unmanned submersibles to collect the artifacts and gather sediment samples from the sea floor. They also documented the wreck sites with high-definition underwater cameras and a 3D laser scanner.

The project was a collaboration between the National Center for Archaeology, the Chinese Academy of Science and a museum in Hainan.

“The discovery provides evidence that Chinese ancestors developed, utilized and traveled to and from the South China Sea, with the two shipwrecks serving as important witnesses to trade and cultural exchanges along the ancient Maritime Silk Road,” says Guan Qiang, deputy head of the NCHA, in the agency’s statement.

During the Ming dynasty, China’s population doubled, and the country formed vital cultural ties with the West. Ming porcelain, with its classic blue and white color scheme, became an especially popular export. China also exported silk and imported new foods, including peanuts and sweet potatoes.

The period had its own distinctive artistic aesthetic. As the Smithsonian’s National Museum of Asian Art writes, “Palace painters excelled in religious themes, moralizing narrative subjects, auspicious bird-and-flower motifs and large-scale landscape compositions.”

The shipwreck treasures aren’t the only recent discoveries in the South China Sea, according to CBS News’ Stephen Smith. Just last month, officials announced the discovery of a World War II-era American Navy submarine off the Philippine island of Luzon.

By Sarah Kuta.

[thejoyofseax]

Why We Can't Have Medieval Food

I noted in a previous post that I'd "expand on my thinking on efforts to reproduce period food and how we’re just never going to know if we have it right or not." Well, now I have 2am sleep?-never-heard-of-it insomnia, so let's go.

At the fundamental level, this is the idea that you can't step in the same river twice. You can put your foot down at the same point in space, and it'll go into water, but that's different water, and the bed of the river has inevitably changed, even a little, from the last time you did so.

Our ingredients have changed. This is not just because we can't get the fat from fat-tailed sheep in Ireland, or silphium at all anywhere, although both of those are true. But the aubergine you buy today is markedly different to the aubergine that was available even 40 years ago. You no longer need to salt aubergine slices and draw out the bitter fluids, which was necessary for pretty much all of the thing's existence before (except in those cultures that liked the bitter taste). The bitterness has been bred out of them. And the old bitter aubergine is gone. Possibly there are a few plants of it preserved in some archive garden, or a seed bank, or something, but I can't get to those.

We don't really have a good idea of the plant called worts in medieval English recipes. I mean, we know (or we're fairly sure) it was brassica oleracea. But that one species has cultivars as distinct as cabbage, broccoli, cauliflower, kale, Brussels sprouts, collard greens, Savoy cabbage, kohlrabi, and gai lan (list swiped from Wikipedia). And even within "cabbage" or "kale", you have literally dozens of varieties. If you plant the seeds from a brassica, unless you've been moderately careful with pollination, you won't get the same plant as the seeds are from. You can crossbreed brassicas just by planting them near each other and letting them flower. And of course there is no way to determine what varietal any medieval village had, a very high likelihood that it was different to the village next door, and an exceedingly high chance that that varietal no longer exists. Further, it only ever existed for a few tens of years - before it went on cross-breeding into something different. So our access to medieval worts (or indeed, cabbage, kale, etc) is just non-existant.

Some other species within the brassica genus are as varied. Brassica rapa includes oilseed rape, field mustard, turnip, Chinese cabbage, and pak choi.

We have an off-chance, as it happens, of getting almost the same kind of apple as some medieval varieties, because apples can only be reproduced for orchard use by grafting, which is essentially cloning. Identification through paintings, DNA analysis, and archaeobotany sometimes let us pin down exactly which apple was there. But the conditions under which we grow those apples are probably not the same as the medieval orchard. Were they thinned? When were they harvested? How were they stored? And apples are pretty much the best case.

Medieval wheat was practically a different plant. It was far pickier about where it would grow, and frequently produced 2-4 grains per stalk. A really good year had 6-8. In modern conditions, any wheat variety with less than 30 grains per stalk would be considered a flop.

Meats are worse. Selective breeding in the last century has absolutely and completely changed every single species of livestock, and if you follow that back another five centuries, some of them would be almost unrecognisable. Even our heritage breeds are mostly only about 200 years old.

Cheese, well. Cheese is dependent on very specific bacteria, and there are plenty of conditions where the resulting cheese is different depending on whether it was stored at the back or front of the cave. Yogurts, quarks, skyrs, etc, are also live cultures, and almost certainly vary massively. (I have a theory about British cheese here, too, which I'll expand on in a future post)

So, even before you go near the different cooking conditions (wood, burnables like camel and cow dung, smoke, the material and condition of cooking pots), we just can't say with any reliability that the food we're making now is anything like medieval people produced from the same recipe. We can't even say that with much reliability over a century.

Under very controlled conditions, you could make an argument for very specific dishes. If you track down a wild mountain sheep in Afghanistan, and use water from a local spring, and salt from some local salt mine, then you can make a case that you can produce something fairly close to the original ma wa milh, the water-and-salt stew that forms the most basic dish in Arabic cookery. But once you start introducing domestic livestock, vegetables, or even water from newer wells, you're now adrift.

It is possible that some dishes taste exactly the same, by coincidence. But we can't determine that. We can't compare the taste of a dish from five years ago, let alone five hundred, because we're only just getting to a state where we can "record" a taste accurately. Otherwise it's memory and chance.

We've got to be at peace with this. We can put in the best efforts we can, and produce things that are, in spirit, like the medieval dishes we're reading about. But that's as good as it gets.

[sailorgoon13]

Theodore Nott

Basics:

Full Name: Theodore Nott

Nickname: Theo

Gender: Male

Date of Birth: 4 November, 1979

Heritage: English/ Italian

Blood Status: Pure Blood

Wand: Blackthorn, Unicorn hair, 11 3/4", Slightly Flexible

Appearance:

Hair Color: Dark brown, a bit fluffy

Eye Color: Striking baby blue

Skin Tone: Olive

Height: 6'

Body Type: Lean and athletic. Tall, well proportioned

Style: Well-fitted jeans or chinos paired with a crisp button-down shirt or a cashmere sweater. Accessories are key to his look, with luxurious touches like leather loafers, silk scarves, and perhaps even a designer watch or cufflinks. His color palette leans towards darker tones like charcoal, navy, and deep burgundy

Features: Confidence, Mysterious aura, Sharp wit, Distinctive voice, Leadership

Personality:

Traits: Reserved, Loyal, Manipulative, Intelligent, Emotionally Complex

Likes: Privacy, Fine literature, Refines tastes, Debates, Chess

Dislikes: Arrogance, Lack of ambition, Betrayal

Hobbies: Quidditch, Reading, Playing Piano

Fears: Vulnerability, Rejection, Turning to the Darker side

Family and Friends:

Father: Mr. Nott

Valued Pure-Blood status

Supporter of Voldemort's cause/ Death Eater

Mother: Mrs. Nott

Died when Theo was young

Instilled his love for literature and fine art

Taught him Italian

Friends: Draco Malfoy, Blaise Zabini, Lorenzo Berkshire, Mattheo Riddle

Magic:

Special Abilities: His father taught him darker magic when he was young, though he doesn't like to use any of it. Particularly good at charms and hexes

Boggart: A memory of when he witnessed his mother dying

Patronus: Fox

Polyjuice: Would look velvety black with sparkling flecks of gold and silver. Smell like earthy Italian herbs and leather books with a hint of roses. It might taste like dark chocolate infused with hints of espresso and blackberry, with a subtle undertone of smoky oak and vanilla

Amortentia: Bergamont, Sandalwood, Freshly Brewed Coffee, Dark Chocolate

Backstory:

Theodore Nott was born into a prestigious pure-blood wizarding family, his childhood filled with the enchanting landscapes and rich cultural heritage of Italy. His mother, a talented witch with a passion for art, literature, and music, imparted upon him a love for the finer things in life. She taught him how to speak Italian, play the piano, and appreciate the beauty of the magical world around them.

However, Theodore's childhood took a tragic turn when his mother passed away, leaving him with a profound sense of loss. Compounding his grief was the revelation that his father, though also deeply devoted to his family, had been a follower of Voldemort. With Voldemort's downfall, Theo's father met his demise, leaving Theo with conflicting emotions and a sense of isolation.

Despite his father's past affiliations, he distanced himself from his family's dark legacy, choosing instead to honor his mother's memory by embracing the values she had instilled in him. He found comfort in the company of his friends, particularly during Christmas vacations and over the summer, when he would often stay with classmates Draco Malfoy, Blaise Zabini, Mattheo Riddle, and Enzo Berkshire.

Throughout his years at Hogwarts, Theodore excelled academically and athletically, distinguishing himself as a talented and ambitious student. His keen intellect, strategic mind, and refined tastes set him apart from his peers, earning him both admiration and envy. Despite facing teasing and discrimination for his softer side and Italian accent, Theo remained resilient, drawing strength from the bonds of friendship that sustained him.

He discovered a passion for Quidditch, becoming the star keeper for the Slytherin team. With each dive and save, he felt a sense of freedom and exhilaration, leaving behind the weight of his worries and losses, if only for a moment.

Academics:

Best Subject: Charms

Favorite Subject: DADA (But he won't tell you its really Astronomy)

Favorite Professor: Flitwick

Worst Subject: Ancient Runes

Least Favorite Subject: Divination

Least Favorite Professor: Slughorn

Student Life:

Academically excels in his studies, particularly in subjects like Potions and Charms

A regular fixture in the Hogwarts library, spending hours poring over ancient texts and refining his magical skills, teaching himself a new language, (Or really just hiding behind a romance novel)

Respected by his classmates for his intellect and admired for his cool demeanor, though some may find him enigmatic or intimidating.

He enjoys spending time in the Hogwarts Quidditch pitch, honing his skills as Keeper

He also indulges in his love for art, literature, and music

Girls at Hogwarts are drawn to Nott's confidence, intelligence, and refined tastes, finding themselves mesmerized by his cool demeanor and mysterious aura

While he remains discreet about his romantic interests, there is no shortage of girls vying for his attention and affection.

Template: @hazyange1s

[blackhistorystoryteller]

Title: "The Significance and Diversity of African Names"

Introduction

African names are a reflection of the continent's incredible diversity, culture, history, and traditions. With over 2,000 distinct languages spoken and a multitude of ethnic groups, Africa is a treasure trove of names that carry deep meanings and unique stories. In this article, we'll explore the rich tapestry of African names, their significance, and the cultural diversity they represent.

The Importance of Names

Names hold a special place in African societies. They are more than mere labels; they encapsulate a person's identity, heritage, and often convey messages of hope, aspiration, and blessings. African names are deeply rooted in the belief that a name can shape a person's destiny and character.

Linguistic Diversity

Africa's linguistic diversity is astounding, with thousands of languages spoken across the continent. Each language group has its distinct naming traditions, resulting in a vast array of names. For example, in West Africa, Akan names such as "Kwame" (born on a Saturday) and "Kofi" (born on a Friday) are common, while in East Africa, Swahili names like "Amina" (trustworthy) and "Nia" (purpose) are prevalent.

Meanings and Symbolism

African names are rich in meaning and symbolism, often reflecting the circumstances of a child's birth, their family history, or the aspirations of their parents. Names can signify virtues like courage, strength, and wisdom or convey hopes for a prosperous and fulfilling life.

Family and Heritage

In many African cultures, names are chosen to honor ancestors, celebrate cultural heritage, or connect the child to their roots. This practice ensures that generations remain connected to their family's history and traditions. For example, the Igbo people of Nigeria often use "Ngozi" (blessing) to convey the hope for a blessed life..

Naming Ceremonies

Naming ceremonies are significant events in many African communities. These ceremonies are joyous occasions where family and friends gather to celebrate the birth of a child and bestow a name. The rituals and customs associated with these ceremonies vary widely, showcasing the diversity of African naming traditions.

Modern Influences

In today's globalized world, African names are not confined to the continent. Many people of African descent living outside Africa proudly bear African names, celebrating their cultural heritage and contributing to the global recognition of the beauty and significance of these names.

Conclusion

African names are a testament to the continent's diversity, culture, and history. They carry profound meanings, connect individuals to their heritage, and celebrate virtues and aspirations. As we embrace and appreciate the beauty of African names, we also acknowledge the importance of preserving and passing on these cultural treasures to future generations, ensuring that the rich tapestry of African identity remains vibrant and thriving.

1. **Kwame (Akan, Ghana):** A male name meaning "born on a Saturday."

2. **Ngozi (Igbo, Nigeria):** A unisex name meaning "blessing" or "good fortune."

3. **Lulendo (Lingala, Congo):** A male name meaning "patient" or "tolerant."

4. **Amina (Swahili, East Africa):** A female name meaning "trustworthy" or "faithful."

5. **Kwesi (Akan, Ghana):** A male name meaning "born on a Sunday."

6. **Nia (Swahili, East Africa):** A unisex name meaning "purpose" or "intention."

7. **Chinwe (Igbo, Nigeria):** A female name meaning "God owns" or "God's own."

8. **Mandla (Zulu, South Africa):** A male name meaning "strength" or "power."

9. **Fatoumata (Wolof, Senegal):** A female name meaning "the great woman."

10. **Kofi (Akan, Ghana):** A male name meaning "born on a Friday."

These are just a few examples, and there are countless other African names with unique meanings and significance. It's essential to remember that Africa is incredibly diverse, and each region and ethnic group has its own naming traditions and languages, contributing to the rich tapestry of African names.

The most popular African names among Black Americans can vary widely based on individual preferences, family traditions, and regional influences. Many Black Americans choose names that connect them to their African heritage and celebrate their cultural roots. Here are a few African names that have been embraced by some Black Americans:

1. **Malik:** This name has Arabic and African origins and means "king" or "ruler."

2. **Amina:** A name of Swahili origin, meaning "trustworthy" or "faithful."

3. **Kwame:** Derived from Akan culture, it means "born on a Saturday."

4. **Nia:** A Swahili name representing "purpose" or "intention."

5. **Imani:** Of Swahili origin, it means "faith" or "belief."

6. **Jamal:** This name has Arabic and African roots and means "handsome."

7. **Ade:** A Yoruba name meaning "crown" or "royalty."

8. **Zuri:** Of Swahili origin, it means "beautiful."

9. **Sekou:** Derived from West African languages, it means "fighter" or "warrior."

10. **Nala:** This name is of African origin and means "gift."

It's important to note that while these names have African origins, their popularity among Black Americans can vary by region and individual choice. Additionally, some Black Americans choose to create unique or hybrid names that blend African and American influences, reflecting their personal and cultural identities. The naming choices among Black Americans are diverse and reflect the rich tapestry of their heritage and experiences.

African Languages: A Tapestry of Diversity and Culture"

Introduction

Africa is a continent known for its stunning natural landscapes, diverse wildlife, and rich cultural heritage. Among its many treasures, the continent boasts an astonishing linguistic diversity that is often overlooked. In this article, we delve into the fascinating world of African languages, exploring their diversity, cultural significance, and the challenges they face in a rapidly changing world.

The Linguistic Kaleidoscope

Africa is home to over 2,000 distinct languages, making it one of the most linguistically diverse regions on the planet. These languages belong to several different language families, including Afroasiatic, Nilo-Saharan, Niger-Congo, and Khoisan, each with its unique characteristics.

Niger-Congo Family: The vast majority of African languages, including Swahili, Yoruba, Zulu, and Kikuyu, belong to the Niger-Congo language family. This family stretches across West, Central, and Southern Africa, reflecting the continent's linguistic richness.

Afroasiatic Languages: Arabic, a member of the Afroasiatic family, has a significant presence in North Africa, while other Afroasiatic languages like Amharic are spoken in the Horn of Africa.

Nilo-Saharan Languages: Found in parts of East and North Central Africa, Nilo-Saharan languages include Dinka, Kanuri, and Nubian.

Khoisan Languages: These languages, characterized by their unique click consonants, are primarily spoken by indigenous groups in Southern Africa, such as the San and Khoi people.

Cultural Significance

African languages are not just tools of communication; they are repositories of cultural heritage and identity. They carry the history, stories, and traditions of their speakers. Each language is a key to unlocking the rich tapestry of African cultures, from oral storytelling and folklore to religious rituals and traditional medicine

Preserving Cultural Diversity

Despite their cultural importance, many African languages are endangered. The rise of global languages like English, French, and Portuguese, often due to colonial legacies, has led to the decline of indigenous languages. To address this, efforts are being made to document, preserve, and revitalize endangered African languages through education, community initiatives, and technology.

A Language of Unity

In some regions, African languages are a means of fostering unity. For example, Swahili, a Bantu language with Arabic influences, serves as a lingua franca in East Africa, promoting communication and cooperation among diverse ethnic groups.

Challenges and Opportunities

While African languages face challenges in an increasingly interconnected world, they also offer unique opportunities. Embracing linguistic diversity can strengthen cultural identities, promote inclusive education, and drive economic growth through multilingualism.

Conclusion

African languages are an integral part of the continent's rich heritage and cultural tapestry. They represent the diversity of Africa's peoples and their traditions. While challenges exist, there is hope that efforts to preserve and celebrate these languages will ensure that they continue to thrive, enriching the world with their unique beauty and significance. In an increasingly globalized world, Africa's linguistic diversity is a testament to the resilience and vibrancy of its cultures.

[artificial-transmutations]

Historically Accurate

"I'm telling you, Hollywood is going down with all the woke crap! You know what they say: Go woke go broke!"

Julian and Wallace were on their way back from the lunch room and the former was listening to the latter complaining. Julian had tried to avoid any topic like this, but, really, it was a mine field with Wallace. Just about *every* topic had the potential to turn out political.

"I don't see what's wrong with a little inclusion in pop culture." Julian said, not wanting to argue but also not wanting to leave that opinion unopposed.

"Everything! It's just plain wrong, and it's brainwash, too. I mean, it's like a mind virus, poisoning everything! There's a western coming out next week. But it's all bullshit woke agenda again. The cowboy is black and gay! Literal brainwash and historical rewrite."

Julian frowned. How could an intelligent person like Wallace be so stupid at the same time?

"Why does that even bother you? I thought you hated westerns."

"Yes, that's not the point. Fact is, it's historically inaccurate and just pushing the woke agenda."

"Actually, I think it's not even historically incorrect." Julian pondered as they entered the lab using Julian's keycard and an iris scan of both scientists.

Wallace was borderline angry now.

"What are you talking about? Everyone knows that cowboys were the whitest and the straightest people there were."

"I'm not quite sure", Julian said. "Weren't there freed slaves and so on? And I would guess if you were underway with another guy for prolonged periods of time, not everything staid straight, too."

"Bullshit! Everyone knows cowboys weren't fags, and they were white."

Wallace seemed agitated now, and his usual stiff demeanor became even more pronounced.

Wallace was in his mid-forties, but the way he was talking, he seemed way older to Julian.

Julian on the other hand was awfully young for the position he had. Being 25, he still didn't look like he had finished college, even though he had his doctorate already.

It was really a bit sad, he thought. Two of the brightest minds and they were bickering over basic, meaningless distinctions like ethnicity or sexual orientation.

"We could just ask the computer." he proposed, but Wallace frowned.

"We are not supposed to use the equipment for private research." he said.

'The computer' was part of the highly secretive project they worked on. When finished, it was supposed to be a time machine, simple as that. The actual time travel device didn't work properly yet, but a part of it, a chronoton boosted quantum computer that was able to access history itself to answer questions about the part, was already functioning quite well.

"But we are supposed to test it from time to time. Are you afraid of the answer it might give?"

"Of course not." Wallace grumbled. "Fine. Computer! Is there any historical evidence of gay black cowboys?"

The voice activated system acknowledged the request with a beep. While waiting for the answer, Julian checked the parameters of the system and found them in near-perfect condition.

Finally, the system answered, with the neutral male voice it was programmed with.

"A significant portion of cowboys consisted of people with African heritage, especially after the freeing of slaves after the civil war. Homosexual acts and attraction were common among cowboys, especially during the trail drives. Demonstrating..."

"Hrmpf." Wallace said, clearly not happy.

Julian, who was still checking the readings, scratched his head.

"Did you remember to disconnect the capsule before making the query? It seems to be drawing power."

"Ah, crap. That's just because of all the bullshit talk. Computer, stop!"

"Unable to comply. Demonstrating... Target: Montana Frontier Area, June 1865..."

The white walls of the chamber started to glow in an ever brighter white that was beginning to hurt the eyes.

"Crap. Julian, cut the power!" Wallace said, now with a clear notion of fear in his voice. The younger scientist didn't answer but tried to do as he was told - but did not succeed in time.

Suddenly, with a flash, their surroundings changed and the two of them found themselves in the middle of a rugged mountain range, on the border of a pine forest. It was late afternoon and the scientists found themselves in a just set-up camp. Two horses were standing nearby, and a small herd of cows was grazing at a meadow.

Wallace sighed and shook his head angrily. "Just great. Look at the mess you just put us in. Now we have to wait until we're rescued. And, apparently, we have to meet some black homo cowboys."

Julian looked around but couldn't see anyone around.

"I would have also guessed so, but there doesn't seem to be anyone there."

His heart sank as he had a terrible suspicion. He had been experimenting lately with a normalization circuit that would embed the time travelers into history instead of superimposing them onto it. That was - according to his theories - a rather elegant way to resolve the repelling effect the historical structure had, but it wasn't finished by any means. It had never been tested and even theoretically, it wouldn't be able to achieve a partial embedding, only a full one at best. And the more he thought about it, the more he was convinced that it had still been connected to the system.

As Julian thought about how to break it to Wallace, he noticed something strange about the other scientist. It could be a trick of the light, but he looked way more tanned than before.

"Uhm... It might actually be somewhat worse than that. I think my normalization circuit was still active when you activated the machine."

"What? What does that mean?" Wallace looked at him, furiously now.

"Well, I would guess..." Julian struggled and gave up. "Look at your hands, I think it's pretty self-explanatory."

Wallace looked down at his darkening hands and paled. Even now, he still had a considerably darker skin tone than before, darkening with every passing second.

"Shit." he said. "That's what you get for fucking around with a half-finished experiment."

Julian didn't even dare to mention his suspicion. If his normalization circuit was really active, that would make Wallace an actual, black cowboy, and not just him. Julian was also a time traveler, so he, too, would be affected.

Meanwhile, the changes in Wallace seemed to have proceeded. His facial structure looked like it was in motion before finally settling on a generally broader, manlier shape: The jawline became more pronounced, and his cheekbones raised.

"Is there... anything going on with me as well?" Julian asked.

Wallace looked over at him.

"Yeah, your hair color is changing, and I think your eye color. Blonde and blue-eyed, how cliché. But most importantly, you're not becoming fucking a fucking Black man."

Wallace didn't say Black man.

For some reason, this didn't bother Julian half as much as it should have. He felt rather at ease, and the untamed wilderness around him awakened a sense of adventure inside of him that he didn't know was in him.

Meanwhile Wallace was also feeling a change within. A surge of confidence emerged from within him that was entirely alien to the deeply insecure man at first, but quickly became more and more part of his personality. It was like his core was solidifying into a confident and assertive nature, a boldness and quiet he secretly always wished he had. At the same time, his body structure changed considerably.

Where before, Wallace had been a physically unimpressive mid-forties man, it now seemed like the years melted off of him, and for every year that he lost, he gained three pounds of muscle mass and beef. His shoulders widened, his height increased, and his frame expanded in order to accommodate the new body mass.

"It's not that bad, ain't it?" While Julian's body had not changed much besides the hair and eye color, his voice sounded entirely different now. It had a southern lilt to it, but it was charismatic and charming. It was the kind of voice you could listen to for hours without end, perfect for reading an audiobook - or telling campfire stories.

"Well now, I ain't too sure 'bout that." Wallace's voice had changed even more considerably when he answered. He had gained a thick southern accent, and his voice had dropped to a low and smooth voice that sounded commanding even if he didn't intend to.

"Ha, look at that, your skin's startin' to change now, too!"

And really, Julian's skin had started to adapt as well, but it was quickly becoming apparent that it went a different route than Wallace's. Instead of darkening to the almost black tone that he was sporting, Julian's skin became rougher and got a sun-kissed tan instead. His facial features sharpened, as his cheekbones looked chiseled all of a sudden and a rugged beard texture was adorning his chin. Julian seemed to notice it, too, since he started touching his new face immediately.

"Cool! Always wondered what I'd look like sportin' a beard." he said, apparently not too unhappy with the changes.

There was no denying Julian looked good, which made Wallace feel a touch of jealousy. In his opinion, it wasn't fair that he was the only one having to deal with the black skin. That feeling quickly faded, though, as his changes continued. His hair became very short, curly and dark. At the same time, a short beard formed on his chin and upper lip, giving him an even manlier appeal. At the same time, chest hair sprouted, sparsely of course, as it was normal for a man of his heritage. A strange feeling overcame Wallace. He wasn't necessarily *proud* to be Black now, but he also didn't mind it anymore. He was proud of a lot of secondary assets, though, like his bulging muscles or his handsome face. As his eyes became a dark brown, he had to smirk as he sat down by the fire, readjusting himself in the process. And, of course, his big cock, which might also have been positively influenced by his new ancestry.

Wallace watched as Julian turned around and tended to the horses. His body was now, finally, also changing. It didn't become nearly as bulky as his own, but instead lean and agile, with narrow hips and a well-distributed surprising strength, as Wallace knew. While Julian was busy with the horses, Wallace had a good view of his ass. It filled out the jeans just so well, and Vallace only noticed now that the other man's attire had changed. He was clad in a pair of blue jeans, a vest and, of course a Stetson now, and Vance always thought that this outfit accentuated the best parts of his partner quite well. He preferred black leather, himself, since the material was sturdier and felt better on the skin.

Vince felt his cock hardening in his leather pants and readjusted himself again while also leaning back and spreading his legs to make more room for the erection. He wasn't afraid of anyone seeing his rude behavior. The only other man within a wide range was Jesse, the owner of that juicy ass. And he was allowed to see... well, everything.

Vince waited patiently until Jesse returned to the campfire, with a big smile on his face.

"How them horses holdin' up, partner?" Vince asked.

"They're good. Just a tad worn out from today's ride." Jesse answered.

"Well, there's somethin' else needs tendin' to, if you're free to lend a hand. Or an ass." Vince grinned and made his cock throb in the confines of his tight leather pants.

Jesse grinned at the display of masculinity and massaged his own cock.

"Hell yes!"

As Jesse moved over in his usual graceful movements, Vince leaned back. There really wasn't anything better than being a big, black cowboy. Especially not with a partner like Jesse, who was always happy to make the nights in the wilderness a little less lonely.

Certainly not poor and lonesome! Also check out this awesome writer!

There are a few more versions of Jesse and Vince, over at my tip jar.

[visit-new-york]

Chrysler Building. Gazing from Afar

Photographic Icon: The Chrysler Building has become an iconic subject for photographers, its gleaming facade and Art Deco details offering endless creative inspiration.

Artistic Muse: Artists and creatives worldwide continue to draw from the Chrysler Building's unique blend of elegance and innovation, making it a timeless muse in the worlds of art and design.

Architectural Symbolism: The spire of the Chrysler Building reaches high into the sky, symbolizing not just the ambition of the building's creators but also the aspirations of an entire era.

Elevated Gargoyles: The eagle gargoyles that adorn the 61st floor of the Chrysler Building's crown are among the highest architectural elements in New York City, adding to their mystique and symbolism.

Structural Drama: The Chrysler Building's design is a dramatic departure from traditional skyscraper aesthetics, with its setbacks and ornamentation creating a dynamic visual narrative.

Chrysler Building. Cultural Legacy

Literary Inspiration: The Chrysler Building has featured prominently in literature, serving as a backdrop for various novels and stories that capture the essence of New York City.

Film Icon: Its distinctive appearance has made the Chrysler Building a sought-after location for film and television productions, adding to its cultural prominence.

Design Evolution: The influence of the Chrysler Building's Art Deco style is visible in the design of numerous buildings, both in the United States and around the world.

Fashion Forward: Art Deco, epitomized by the Chrysler Building, has left an indelible mark on fashion, with its geometric patterns and sleek lines finding their way onto clothing and accessories.

Cultural Significance: Beyond its architectural marvel, the Chrysler Building is a symbol of the enduring spirit of innovation, aspiration, and creativity that defines New York City.

Chrysler Building. Preservation and Restoration

Ongoing Preservation: Dedicated efforts by preservationists ensure that the Chrysler Building's exquisite details and structural integrity continue to shine, safeguarding its heritage.

Art Deco Revival: The resurgence of interest in Art Deco design has brought renewed attention to the Chrysler Building's architectural significance.

Sustainability Initiatives: Modernization efforts have also extended to sustainability, with upgrades to the building's energy efficiency and environmental impact.

Visitor Experience: While the Chrysler Building is primarily a commercial office building, its lobby remains accessible to the public, allowing visitors to appreciate its Art Deco grandeur.

A Living Legacy: The Chrysler Building's legacy is not frozen in time but continues to evolve, adapting to the needs of a changing world while preserving the timeless essence of its design.

Chrysler Building. A Beacon of Hope

Iconic Beacon: The Chrysler Building's illuminated crown serves as a symbol of hope and unity, often illuminated in special colors to commemorate important events or causes.

Cultural Connection: Its presence in the New York City skyline is a source of cultural connection, a shared symbol that binds residents and visitors alike.

Historical Resilience: The Chrysler Building has withstood the test of time, remaining steadfast through historical events and shifts in cultural preferences.

Artistic Representation: Countless artists have depicted the Chrysler Building in their works, capturing its beauty and significance in various mediums.

A Promise of Tomorrow: As the sun sets behind the Chrysler Building, its illuminated crown stands as a beacon, reminding us that even in challenging times, there is always a brighter future on the horizon.

The Chrysler Building, with its timeless elegance and architectural innovation, continues to inspire and captivate. Its enduring legacy reminds us of the power of human creativity, determination, and the enduring spirit of New York City. In its gleaming spire and Art Deco splendor, we find not just a building, but a symbol of aspiration and a testament to the heights that can be achieved through bold vision and unwavering dedication.

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[y-rhywbeth2]

Elven subraces

Link: Disclaimer regarding D&D "canon" & Index [tldr: D&D lore is a giant conflicting mess. Larian's lore is also a conflicting mess. There's a lot of lore; I don't know everything. You learn to take what you want and leave the rest. etc]

(Tel'Quessir only, we're not going into the non-Torillian stuff like snow elves or astral elves)

How many of these bastards could you possibly need, you ask? Well according to the writers there are never enough:

So lore dumps on Moon elves, Sun elves, Star elves, Wood elves, Green elves, Aquatic elves, Winged elves, Dark elves (and their infinite permutations), Lythari, Fey'ri, and Celadrin. And we're not going into the other tiny little pockets of culture like the Llewyrr or the Poscadari.

A brief talk about the mixing of subraces, and then starting the lore dumps off with the moon elves.

(Well, the first half of the moon elves, because I forgot some things after moving onto the star and sun elves and had to add it later)

A note before going into it is that, obviously, elves can be descended from multiple subraces. Mechanically they will take after one parent, usually a mother. In appearance they usually favour one parent over the other, but they may have any mix of traits from their parents.

So a green elf (wood) and a moon elf (high) may produce a child whose 5e character sheet says either wood elf or high elf, with the appropriate stat bonus (3.5e would put them down as green or moon). It takes generations of mixing to produce a distinct subrace as the moon elves and wood elves have.

Canonically:

Shemmithil Maraphiir - better known as Ashemmi - is the daughter of a sun elven mother and a moon elven father. Mechanically she was a moon elf (and identified as one), and she had blonde hair and golden eyes from her mother.

Halanaestra, a tavern-master (barkeeper/pub landlord) on Evermeet is of mixed silver, green and sea elven heritage.

There's also an elven noble house (House Le'Quella) of mixed moon and green heritage.

As the offspring of an elf and a half-elf is mechanically classified as an elf in the Realms it's also possible for an elf to display human genes from a grandparent or more distant ancestor. (Or even a non-human non-elven ancestor).

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Elven aging, in DnD baseline canon, features a lifespan of aprox. 750 years. That said, sources have varied and different elven subraces have different average lifespans so I'll mention them. It's also worth noting that these are average lifespans, and even the shortest-lived elven subrace (drow) are known to live into four digit numbers.

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Obviously the lore presented is cultural norms and stereotypes, and individual elves may not fit the mould perfectly.

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High Elves are sometimes referred to as Eladrin, which also happens to be the name for the closely related celestials/fey who dwell in the Feywild and Arvandor. Generally people just call them elves.

Calling a moon or star elf a high elf may cause confusion, as while there are three subraces that fall into the category it's also one of the terms used to refer to sun elves.

All high elven subraces share the same average heights and weights, standing on average about the same heights as humans (in contrast to elves of other worlds, who tend to be shorter)

Height Range: 4'5" - 6'6", averaging the same heights as humans.

Weight Range: 70 lbs - 250 lbs, lighter than a human of the same height and build - likely due to the comparatively physical fragility and 'delicateness' high elves are known for.

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The People of the Moon - Teu'Tel'Quessir

Moon elves, Silver elves, Grey elves*

*A slur used by gold elves who consider them inferiors (and what an elf should not be).

By far the most likely to show ancestry from outside the moon elf gene pool. For example; while moon elven hair skews towards silver-white, they can be seen with hair of any colour.

Hair: silver, white, silver-white, white-blue, white-green, blue, midnight blue, black. Very, very early generations of moon elves had bright red hair, but that gene seems to have died out.

Eyes: Green, blue, grey, silver. A distinct trait of moon elves is that their eyes are always flecked with gold (which catches the light, giving the impression of literal gold or even stars).

Skintone: 'Bleached white' - also likened to ivory, alabaster and snow - with blue undertones, and an affect that's described as being like 'white marble' (which I assume is the blue pattern formed by veins under the skin where it's thin, but that's just my assumption.)

Average Lifespan: 500-900 years. Second longest lived of the elven subraces.

Patron deity: Sehanine Moonbow, deity of death, journeys, transcendence, dreams, mysticism, the night sky with the stars and moon. Moon elven religion is also the only one to officially include Angharradh in the pantheon.

Wandering party elves who may have to show up to work hungover. Individualistic, impulsive, flighty, fun-loving, hedonistic little bastards who tend to take risks and have a horrible ability to judge said risks: Do first, think later. Being alive is a delight, and the purpose of life is to enjoy it to the fullest (and to have the freedom to do so). If you visit Evermeet some of them will board your ship without warning on the way in and drink all your booze while singing bawdy songs. They tend to embrace change, delight in gambling, and see life as something to be enjoyed - other elves simply need to pull their heads out of their asses.

'Life is for the living and is best spent among the lively. Revel in variety and laughter, for all living things can learn and laugh with each other.'

Origin:

Moon elves are descended from the children of Sharlario Moonflower, an adventuring merchant from the Feywild (although his rival personally believed the man to be a pirate). He was staying in the city of Tintageer when it was destroyed by disaster and fled with the survivors to Toril. Said survivors became the gold elves, while he married a green elven priestess of Sehanine Moonbow. Their children inherited his white-blue skin and their mother's devout reverence for the Daughter of the Night Skies and were nicknamed moon elves as a result, they took to wandering as he did and served well as diplomats between the various elven people who had made their home on Toril.

(The Moonflower clan also went on to be the royal family as history progressed, and some sun elven reactionaries have never really forgiven the moon elves for that since that's their place.)

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The Road of Life: 'The silver elves strongly believe than an individual must choose his or her path through life.' In the moon elven take on the core elven philosophy there is no one correct way to live life, and every individual must be free to find their own way and chose the path for themselves. It's not the destination that matters, but the journey.

Moon elves have a drive to seek excitement and new experiences; to see and do as much as they can within their lifespan, trying out new things and dropping them for the next as they go. They often spend the longest time in the first stage of the road, characterised by chasing impulse and entertainment, travelling and adventuring, focusing on themselves and their own interests rather than the community - and sometimes lapsing from the second stage (the mature stage where they focus on their society and their place in it) back to the first wanderlust stage in later life. There is no stigma against this however; it's their road to walk and they must walk it as they see fit.

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Society:

Moon elves found outside of elven lands are transients, usually travelling in extended family groups. Of course, being elves, their idea of a brief stay has them hanging around in one settlement for years, sometimes several decades. They're likely to own houses and have jobs and long-term friendships before they decide to wander off again.

Their nomadic lifestyle often leads moon elves to pick up multiple languages over the course of their lives.

Due to their history of wandering and mixing with the people they encounter, their culture encouraging a love of fun and new experiences, and the presence of Angharradh in their religious beliefs encouraging strength in diversity, moon elves are the most outgoing and amongst the most open-minded and friendly elves (the others are the copper elves, who share their open-minded outlook but are more settled and reclusive). They do have conflicts - some moon elves are embittered by historical losses at the hands of humans; Evereska has historically been barred to any non-elves save Harpers and elf friends. And sometimes the friction between the clashing ideals of moon and sun elves, as well as their bad history, turns to real enmity rather than their usual 'disapproving family members' treatment. But the philosophical outlook moon elves have drilled into their head from birth, favouring individuality, generally leads them to be willing to treat people as individuals rather than members of their group.

Moon elven houses are the most likely to adopt non-elves into house membership, and often frown upon refusing to legitimise mixed children born to their house.

They usually happily integrate with their neighbours in whatever society they're staying in, though if they feel persecuted or othered they're known to respond by becoming the most obnoxious elven stereotype in order to annoy said neighbours. An elven household in a human city isn't going to have a bedroom and is liable to be covered in plants like some kind of greenhouse (these plants are actually edible - to the elven digestive system, at least), but assuming they like their guest they'll put the plants away and prepare a guest room while hosting. Sometimes the plants are enchanted to levitate to the rafters on command.

Fighters aren't uncommon, but moon elves prefer to approach conflict with a stealth-first mentality; moon elven stories favour heroes who outwit and humiliate their opponents with quick thinking and cunning.

Literature, song and poetry favours light-hearted with a focus on humour - especially dirty humour. They have their share of more solemn and tragic historical tales, but these things have their time and place and don't get the focus.

They like to party and all night revels are a common thing. Gambling games are also a staple of moon elven social life and getting dragged into games of kholiast (a very complicated card game involving dice and a deck of 1000 cars) is to be expected.

Pets are common, especially hunting dogs and birds of prey. They don't seem to care for horses though, preferring their own two feet. On the less common selection are blink dogs, pegasi, unicorns and dragonnes (cat-dragon things).

Moon elven culture doesn't encourage hiding or repressing emotion and many wear their hearts on their sleeves. They have a reputation for mood swinging, going from exuberant joy and merriment to 'the pits of despair and melancholy' and back again at speeds that non-moon elves struggle to cope with. Hiding or repressing your emotions is frowned on, and the stoicism practiced by gold elves is derided as a 'colourless' existence.

Customisation and self-expression in fashion is big. Makeup, especially eyeliner and eyeshadow is well loved. Piercings made of metal are less common, and bone - especially from a deceased loved one or revered ancestor - is favoured. If they use metal it's likely to be silver. Most moon elves having such pale hair means that temporary dyes see a lot of use, and they like painting their nails.

They also enjoy fussing over their hairstyles, and braids, ponytails and hair decorations like beads and wrapped wire are popular.

Some - though not all - moon elves have a tradition of body paint and tattooing in 'mystic patterns,' some of which were appropriated from green elven culture while others were maintained from their mutual ancestors. Body paint and temporary tattoos are far more common as their impermanence makes them more appealing: what if you change your mind about the design later, after all? You can change temporary designs as much as you like when you get a new idea and then put the old one on again later.

Almost as if they're making up for their flighty hedonistic ways, moon elves do take their oaths and responsibilities very seriously: an oath from a moon elf should be a binding contract, and oathbreakers are reviled as the worst sorts.

Adopting the local N'Quess fashions aside, traditional moon elven clothing is relatively simple but favours the highest quality material and construction possible. They enjoy embroidery and customising their own clothes, featuring patterns and beadwork and intricately carved stones. Some even add feathers. Where moon elves feel safe they favour bolder colours - cultural wisdom says 'brighter is better' and your peers respect you more the more ostentatious you go - but in places where they feel threatened they dress conservatively and tone it down to more earthen colours to blend in and avoid notice.

While they have the usual elven love of magic, and delight in experimentation and pushing the boundaries of the Art, moon elves despise black necromancy and its creations - likely a combination of their reverence for Sehanine to whose doctrine undeath is an abomination, and their love of life and freedom (to which undeath, a form of slavery and mock existence, is also an abomination). It is not taught or studied in Evereska, which may actually put them at a disadvantage when faced with hostile necromantic spells. Want to be an elven necromancer? Be ready to live alone.

They don't tend to make very good enchanters though, as few have the patience to sit around for ages doing all the long repetitive work that goes into making and enchanting a powerful item ('Sun elves in particular find this trait somewhat embarrassing' and moon elves respond by saying that think the sun elves' taking decades to make a single object is 'obsessive'). They usually make a bunch simple, weaker enchantments to-go.

Evereska, 'the Fortress Home,' and last major elven civilisation on Faerûn, located in the far North-East of the Western Hinterlands is a moon elven state. It does host sun and wood elven residents, but the city is still founded by and mostly populated by the Teu'Tel'Quessir.

The moon elven reputation for open-mindedness may find itself faltering there thanks to an extremely xenophobic noble population; half-elves are barred from certain privileges, such as membership at the Academy, without the backing of a high ranking elven parent and during the spellplage a rise in xenophobia saw many Evereskan half-elves leave the city. They prefer never to let dwarves of half-orcs in under any circumstances whatsoever. Said noble houses are ancient lineages and think moon elves not part of these esteemed houses are second-class citizens. Non-moon elves and non-elves can get fucked. As ever, Toril's nobility are a deranged world unto themselves and you can't really judge what to expect of a people by their rulers, nor what to expect of the nobility by looking at the average citizen.

(The moon elven noble houses of Evermeet tend to be friendlier.)

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Religion:

Silver elves are pious as a people, and their idea of worship is (can you guess?) partying. You start a ceremony with a few moments of solemn prayer, the elven equivalent of an 'amen,' and then immediately start the revel. Festivals end when the last elf collapses from exhaustion sometime in the early morning after.

Sehanine Moonbow features prominently in their worship, and moon elves account for 54% of the membership of her church.

They are also the only elven subrace to remember the triune goddess Agharradh: the queen of Arvandor and a fusion of the deities Sehanine, Hanali Celanil and Aerdrie Faenya. Other subraces may find themselves called to her service but 93% of her total followers are moon elves. Sun elves are the only other elves who know who Angharradh is, and they dismiss her as moon elves misinterpreting Sehanine and consider her worship heretical (though they largely leave the moon elves be).