#antebellum fandom

[dustzvacuumcleaner]

New York Whigs

Seward and Weed and Greeley back in 1838

They got a Brutus!Greeley/Caesar!Seward for the election of 1860 so I drew heheh

Then a non-relevant Vidal Lincoln scene bc I dunno when to post this fheidhwhcgd

[dustzvacuumcleaner]

Babeeeeeee

MVB slugcat based on @doodle-blight 's MVB

[amrevyourengines]

So I stumbled across this meme on reddit...

But the comments section had the real gold:

[icarusbetide]

are you normal or did you feel melancholy when you realized that the historical figures you think of as the "young generation" due to the time period you engage with, were one day the old ones? because i saw art of lafayette and washington's aides de camp right above art on henry clay's generation and it hit me like a sucker punch.

yes they are all dead white men from over a century ago but damn. alexa, play the times they are a-changin.

[anteabbie]

Okay I caved and made a history meme page on instagram its @/ushistoryhoodfights

[floofyquenchiest]

2023 historical figure art 🤯

(See alt for the who the figures are)

[forgottennostalgia24]

More eats, this time from JQA.

[dustzvacuumcleaner]

Monroe and John Quincy as the president and his secretary of state

[dustzvacuumcleaner]

Say thank u Harriet Lane

Major shoutout to Harriet Lane for making the seating plans for like every White House dinner. Can you imagine the stress. The nation rested upon her shoulders

[themintiris]

i hate andrew jackson with a passion but his childhood was absolutely insane

[power-chords]

Music lovers of the mid-nineteenth century were young, middle class, white men and women, often newly arrived in American cities, who, for the first time in history, focused more on hearing public concerts than on making music themselves at home. For many Americans in antebellum cities, the chance to hear professionally performed music simply for the price of a ticket was astonishing, wiping away the necessity of having to learn an instrument, find sheet music, and practice. Indulging in its convenience was the mark of someone fully participating in the sophisticated culture of the city. But music lovers imbued their participation in this enterprise with unexpected enthusiasm. They did not just attend concerts; they depleted their savings to do so every night; they described their feelings about what they heard in diaries, and they waited, longingly, for their favorite performers to return so that listeners could hear those performers again and again.

Take Walt Whitman, who, as one of the earliest music lovers, developed a fascination with concerts while a journalist in New York City in the mid-1840s: on the “free list” for concerts, he was able to hear most of the major virtuoso performers who passed through the city in the late 1840s and early 1850s and would frequently rhapsodize about his favorite opera singers. Although Whitman never had any formal musical training and never learned to play an instrument, music affected him with such force that he described his listening experiences in poems, journal entries, and reminiscences throughout his entire life.

[...] As the concert business grew in the 1850s, spectacle became one means of competition between promoters, especially in the form of the “monster” concert format that, at its extreme, put literally thousands of performers onstage at the same time and necessitated the building of huge, temporary performance halls, the size of several contemporary football fields to accommodate such ambitions. The novelty of these performances for most people was the overwhelming physical experience—a kind of sonic rush of instruments, crowds, and applause.

For music lovers, though, sensation was not a novelty but rather a desired ideal for all performance experiences, whether in a temporary coliseum or a “lecture room” at a dime museum. Music lovers were attuned to the power and quality of performed sound at a visceral, almost intuitive level. Voices had to “strike” or “move” them to be important. In response to opera, especially, music lovers often expressed an overwhelming visceral ecstasy, with music “filling their souls” to the point of losing composure, something that was excitingly dangerous and quite cathartic within the behavioral strictures of middle-class Victorian culture.

—Daniel Cavicchi, “Fandom Before 'Fan': Shaping the History of Enthusiastic Audiences,” Reception: Texts, Readers, Audiences, History, Vol. 6 (2014)

[elumish]

I think one ongoing challenge to establishing any sort of meaningful community standards in fandom as to acceptable behavior or content is that a lot of people are unable to separate out the idea of standards or moderation from harassment.

There's a refrain you see a lot that amounts to, everyone who thinks that there should be content moderation (or "censorship") either harasses anyone they think is posting unacceptable content or stands with harassers.

And even ignoring the fact that harassment is done by a vocal minority and not anything amounting to a majority (by virtue of the nature of harassment, a very small number of people can make a lot of awful noise), those simply are not the same thing.

Content moderation or community standards aren't harassment, and there are a million ways that they have been done, both on and off the internet, without harassing anyone.

And harassment is done by people at every ideological position. It is not uniquely an action taken by people arguing for content moderation in fandom, and it never has been in the history of the world. Every single ideological stance has some awful people in it, and whatever position you take on anything, the total set of people who agree with you also almost certainly has people who are harassers.

So people get very caught up in conflating the ideology (content moderation or standards in fandom) with an action they perceive as being associated with holding that ideology (harassment) and refuse to meaningfully engage with the ideology because they can just argue that it is an ideology inextricably tied with harassment.

I want there, genuinely, to not be any Nazis or Nazi apologists or slavery apologists or genocide apologists in fandom. And I think that there are ways to get a lot closer to being there that don't involve any harassment at all. But if you read the first sentence in this paragraph and thought "I'm not sure I'm really okay kicking someone out of fandom just because they're a genocide apologist," or "But what if this censorship catches people who aren't really slavery apologists but just people who are horny about the idea of antebellum Southern plantations?" please know that you are part of the problem.

[victorsandvanquishers]

The Red House (and all who live in its walls) - Chapter 22 - END

Fandom: DC Comics

Ships: Bart Allen/Kon El <3

Ratings: M+

Warnings: Alternate Universe - Modern: No Powers; Southern Gothic Horror; area man continues engaging in consensual necrophilia

Story Synopsis: When former child star and Metropolis sweetheart Kon 'Superboy' El loses the last vestiges of his career to rampant partying and a budding alcohol addiction, he's forced to move into an old house in the Georgian woods because he can't afford his apartment or his bills anymore. Never the quitter, Kon embraces the crumbling antebellum house and all of its possibilities.

[Bart Allen/Kon El, No Powers AU, Gothic horror romance; retelling of Superboy 1994]

Chapter Summary: All's fair in love, war, and hacked employee databases. In other words, the tale of Kon El and Bartholomew Heinrich Allen finally comes to a riveting end.

~~~

Aaaand finish! Thank you to everyone for reading and enjoying this book! I actually finished writing it in about four months, but I wanted to take everyone on the slowburn ride with me. You could say I've had this weirdo retelling in my mind for a while now. Years of not-so-carefully-thought out planning lol, but hey, I'm in my thirties now, so I can spend a couple of hours a day crunching words with my favorite midnight oil. And that's precisely what I did! I hope you all enjoyed reading it as much as I enjoyed writing it.

Thank you, and until next time. See y'all at the next BartKon rodeo!

and leve comiiiiints (~˘▾˘)~

[amrevyourengines]

And this was all so Dickenson could get payback for a friend over losing a horserace to Jackson.

[icarusbetide]

every once in a while i get antebellum posts on my feed and i'm like... yes....i see some names....i may have seen before....IS THAT JOHN QUINCY ADAMS SON OF JOHN ADAMS? THANK GOD I RAN INTO YOU, LET'S TALK ABOUT YOUR FATHER REAL QUICK

i suddenly become the world's biggest elitist. if you aren't the child of an important revolutionary war figure then i don't know or care about you!

every single day i tell myself i will get into antebellum era and unlock a whole new world of history tumblr content and every single day i end up rereading the same letters from the same 20 people i already know. once i figure out what tf was in the 1790s philadelphian air i promise i will join y'all! 19th century politics you will not escape me further.

[anteabbie]

Been really fixated on RDR2 as of late which has caused me to think about Andrew Jackson as a Van Der Linde gang member... (he's the only antebellum historical figure that would have even mild success 😭) cant tell if they'd love him or hate him.