#caribbean resilience

[iloveethnicities]

Afro-Bahamians are all involved in tourism.

The perception that Afro-Bahamians are primarily or exclusively involved in the tourism industry is a stereotype that fails to capture the rich diversity of roles they occupy across the Bahamas’ social and economic landscape. While it is true that tourism plays a major role in the Bahamian economy—contributing nearly half of the country’s GDP and employing a significant portion of the workforce—Afro-Bahamians are not limited to this sector. The breadth and depth of their contributions span industries as diverse as education, government, healthcare, finance, agriculture, technology, and the arts, demonstrating the multifaceted nature of their involvement in Bahamian society.

In the field of business, many Afro-Bahamians are successful entrepreneurs who own and operate companies in sectors such as real estate, retail, consulting, and manufacturing. They contribute to economic growth by creating jobs, developing new markets, and driving local innovation. Afro-Bahamian business leaders often play an instrumental role in initiatives to support small businesses and foster economic independence, helping to reduce reliance on tourism by expanding the economic base. This entrepreneurial spirit, rooted in resilience and adaptability, reflects a long history of Afro-Bahamians cultivating self-sufficiency and building enterprises within their communities.

In healthcare, Afro-Bahamians serve as doctors, nurses, specialists, administrators, and public health officials who are essential to the well-being of the nation. They work across both urban and rural areas, bringing healthcare access to communities throughout the islands. Afro-Bahamian medical professionals not only deliver quality care but also engage in health education, preventative care, and public health initiatives that address issues such as diabetes, hypertension, and other health challenges affecting Bahamian communities. These contributions are vital to maintaining public health infrastructure and ensuring the long-term well-being of the population.

Education is another sector where Afro-Bahamians have made significant strides. Afro-Bahamian educators, from teachers to professors, school administrators, and policymakers, are dedicated to enhancing educational opportunities for young Bahamians. Their efforts have been instrumental in raising educational standards, developing culturally relevant curricula, and expanding access to education. Furthermore, many Afro-Bahamian academics and researchers contribute to the study of Bahamian history, culture, and social issues, enriching the intellectual landscape of the nation. These contributions empower the next generation, foster national pride, and challenge misconceptions by educating the public on the depth and diversity of Bahamian culture.

Government and public service are also fields in which Afro-Bahamians have historically played leading roles. Many Afro-Bahamians hold key positions in government as ministers, diplomats, civil servants, and policy advisors. They work to shape policies that address issues such as social equity, environmental sustainability, and economic development, advocating for the interests of all Bahamians. Through public service, Afro-Bahamians have helped guide the Bahamas through significant milestones, from independence to contemporary governance challenges. Their leadership has been essential to fostering a political landscape that represents and supports the diverse needs of Bahamian citizens.

In recent years, Afro-Bahamians have also made significant inroads in technology and innovation. The growth of digital technology, e-commerce, and tech startups in the Bahamas has been bolstered by Afro-Bahamian entrepreneurs and innovators who see the potential for technology to diversify the economy. Through their work, they are expanding the nation’s presence in the global digital economy, creating high-skill jobs, and promoting technological literacy. These advancements help reduce the country's reliance on tourism by opening up new avenues for economic growth and demonstrating that the Bahamas can compete in technology and innovation on a global scale.

The arts, culture, and entertainment sectors also showcase the contributions of Afro-Bahamians, who are celebrated worldwide for their creativity in music, dance, visual arts, literature, and film. Afro-Bahamian artists often draw on their heritage to create works that reflect the struggles, triumphs, and spirit of the Bahamian people, contributing to a vibrant cultural identity that extends beyond the Bahamas. The world-renowned Junkanoo festival, a traditional Bahamian celebration rooted in Afro-Bahamian culture, exemplifies the nation’s unique cultural heritage and continues to attract global recognition. Afro-Bahamian writers, musicians, and performers frequently explore themes of identity, resilience, and history, helping to define and share Bahamian culture far beyond its borders.

In essence, Afro-Bahamians play integral roles in virtually every sector of Bahamian society. Their contributions go far beyond tourism, encompassing leadership, innovation, and expertise that shape the nation’s identity and economic future. Dispelling the myth that Afro-Bahamians are confined to tourism not only acknowledges these achievements but also honors the diversity, resilience, and dedication that Afro-Bahamians bring to their communities and country. By recognizing these contributions, we gain a fuller, more accurate understanding of Afro-Bahamians’ impact and the breadth of Bahamian culture and society as a whole.

[fritzinie]

The Haiti You Don’t Know

I don’t know the Haiti that you’ve all heard aboutSo allow me to introduce you to The Haiti that’s not on the news or your social media feedsThe Haiti that’s not trailing behind every charity eventI don’t think you’ve heard about my haitiThe haiti where your neighbors can lend you a dollarOr a table spoon of butterYou don’t know the type of generosity and understanding that weights on everyone’s…

[worldwidebreakingnews]

Explore the devastated Caribbean Islands post-Hurricane Beryl. Learn more about the impact on local communities. Support relief efforts today.

[fiercemillennial]

Diddy Retreats to the Caribbean as Legal Troubles Mount

Diddy ditches the mainland! Is his Caribbean trip a luxury escape or a sign of deeper trouble? 🤔✈️ #diddy #caribbean #legalwoes #resilience #fierceliving #fiercemillennial

The music mogul’s private jet leaves the U.S. amid speculation on recent raids. Is Diddy building an off-shore defense? It looks like Sean “Diddy” Combs is taking a break from his hectic life…or is he on the run? The iconic businessman and music mogul recently had his properties raided, and now TMZ has tracked his private jet to the Caribbean island of Antigua. Whether this getaway is a simple…

[galleryyuhself]

GALLERYYUHSELF - A good dose of history.

[cristinazar]

Jab Jab, rooted in Grenada and Trinidad as Jab Molassie, is a cultural phenomenon with deep historical significance. 

Jab Jab has ties to the pre-Lenten festivities in the French colonies, where the bourgeoisie donned lavish costumes and danced to the melodies of well-tuned orchestras. In stark contrast, the enslaved engaged in their own interpretation. They adorned themselves with cane ashes, oil, or grease and created music using improvised instruments like biscuit tins, oil drums, and conch shells. This was a form of satirical commentary.

The term "Jab" traces its origins to the French word "diable," meaning "devil." This signifies the subversive nature of Jab Jab culture, with masqueraders symbolically assuming the role of the devil, offering poignant commentary on colonial oppression.

Jab Jab, represented by individuals of African or Afro-Caribbean descent, features too distinct costumes with goat horns, thick chains, and symbolic artifacts. At the Notting Hill Carnival, these vibrant costumes come alive, celebrating the resilience and cultural pride of the Caribbean diaspora.

It's essential to note that Jab Jab's historical and cultural context has sometimes been misunderstood, leading to misinterpretations by right wing fanatics on Twitter (where else?). The complex themes and symbolism within Jab Jab culture provide a unique lens through which to view the Caribbean's rich history and heritage.

[purpleweredragon]

Hurricane Beryl has devastated Union Island, the jewel of the Caribbean.

Union Island Environmental Alliance (UIEA) are in need of support.

Homes have been destroyed, lives lost, communities left in ruins, and Union Island's beautiful, diverse ecosystem is in tatters.

It is the only place on the entire planet that is home to the Union Island gecko - a tiny, critically endangered lizard - as well as housing a host of other rare and endemic species such as the Grenadines pink rhino iguana and the Caribbean diamond tarantula.

Union Island is a shining beacon of conservation efforts in the Caribbean - but now 150mph winds have demolished our ability to protect nature there.

We don’t yet know how bad the damage to the environment is, but the building for the project set up to protect the wildlife has been flattened.

Nature is resilient and so are the people of Union Island - but they need support to ensure their work can continue. 

DONATE TO UIEA

[biophonies]

dropped a new t-shirt w rawpaw for their "dreams" challenge & the dream is LANDBACK WORLDWIDE 🖤

I present to you this sigil against capitalist realism (AKA the worst idea in human history: that an earth under capitalism is the only way for humanity to function.)

a different world is not only possible - it’s hundreds of years overdue. shirt can be found HERE. 100% cotton, screenprinted in texas <3 grateful for any shares w folks you think may fw it.

decolonial symbolism breakdown & image description is below the cut~

a multipanel white illustration against a black background.

TOP L: a night flying moth with the words "LANDBACK" - reps change, fluidity, & adaptation (read up on the evolution of the peppered moth - so cool!)

TOP R: a shining blade with the words "WORLDWIDE" - a tool of farmers everywhere (the machete, Indian aruval, Filipino bolo, Afro-Caribbean panga) & global symbol of decolonialism

CENTER: a huge baobab tree with people dancing & gathering fruit underneath. its roots crush military weapons long buried underground - a tree of great spiritual significance across continental Africa & Australia, long used as gathering places, sites of shelter, abundance, and resilience in difficult climates.

BOTTOM L: flowers grow from tear gas grenades - based on Subhiyah Abu Rahma's garden, in memory of her son Bassem, unalived in 2009 when an IOF soldier launched one into his chest. bc “less than lethal” weap0ns will always be lethal in the hands of fasc1sts

BOTTOM RIGHT: a panther pushes out from a lush forest, gazing at the viewer - represents the human rights past generations have fought for, a reminder to not let down one’s guard, to never forget past struggles even if we live in relative comfort, and to never settle for anything less than total liberation. & lastly

BOTTOM CENTER: an orca sinking a yacht - because... well, I trust you get it by now.

[blackhistorystoryteller]

AFRICAN VOODOO

The deep truth about AFRICAN VOODOO

African Voodoo: Unraveling the Mysteries of a Rich Spiritual Tradition

African Voodoo, often shrouded in mystery and misconceptions, is a complex and fascinating spiritual tradition with deep-rooted cultural significance. This ancient belief system, practiced in various forms across the African continent and the African diaspora, offers a unique perspective on the relationship between humans, nature, and the divine. In this article, we will delve into the world of African Voodoo, exploring its history, beliefs, rituals, and its enduring impact on the cultures and societies where it thrives.

A Diverse Tradition

Voodoo, also spelled Vodou or Vodun, is not a monolithic belief system; rather, it is a diverse and adaptable spiritual tradition that has evolved differently in various regions of Africa and beyond. Its origins can be traced back to the indigenous religions of West and Central Africa, where it was practiced by different ethnic groups. Over time, African Voodoo underwent syncretism with Catholicism and indigenous beliefs in the Caribbean, particularly in Haiti, giving birth to Haitian Vodou, which is perhaps the most well-known form of Voodoo.

Core Beliefs

At its core, African Voodoo centers around the veneration of spirits, ancestors, and deities. These spirits are believed to have the power to influence human life and the natural world. Each spirit has a specific domain, and practitioners seek their guidance and assistance through various rituals and offerings. Ancestor worship is a fundamental aspect of Voodoo, as it connects the living to their familial lineage and heritage.

The Loa, or spirits, are a central focus of Voodoo ceremonies. These spirits are intermediaries between humans and the ultimate divine force. Practitioners often enter trance-like states to communicate with the Loa, who possess them temporarily during rituals. The Loa are known for their distinct personalities and preferences, and offerings such as food, drinks, and dance are made to appease and honor them.

Rituals and Practices

Voodoo rituals are colorful and lively events filled with drumming, dancing, singing, and the use of symbolic objects. Rituals are often held in temples or outdoor spaces, and they vary widely depending on the specific tradition and purpose. Some rituals are celebratory, while others are intended to seek protection, healing, or guidance.

One of the most famous Voodoo rituals is the "Voodoo Doll," which is often misunderstood. These dolls are not meant for causing harm but are used as tools for healing or connecting with a specific person's spirit. Pins may be used symbolically to focus intention.

Voodoo in the African Diaspora

The transatlantic slave trade played a significant role in spreading African Voodoo to the Americas, particularly in regions like Haiti, New Orleans, and Brazil. In these places, Voodoo underwent further syncretism with local beliefs and Catholicism, resulting in unique variations of the tradition.

Haitian Vodou, for instance, is a vibrant blend of African Voodoo, Catholicism, and indigenous Taino beliefs. It has had a profound impact on Haitian culture and played a central role in the struggle for independence from colonial rule.

Misconceptions and Stereotypes

African Voodoo has been the subject of many misconceptions and stereotypes, often portrayed negatively in popular culture. These portrayals frequently focus on the more sensational aspects of Voodoo, such as curses and zombies, rather than its rich cultural and spiritual dimensions. It's important to recognize that Voodoo is a legitimate religious practice for millions of people, and like any belief system, it encompasses a wide range of beliefs and practices.

African Voodoo is a complex, multifaceted spiritual tradition with a deep and enduring cultural significance. It is a testament to the resilience of African heritage and the ability of beliefs to adapt and evolve over time. Beyond the stereotypes and misconceptions, Voodoo represents a profound connection between humans, nature, and the divine—a connection that continues to shape the lives and cultures of those who practice it.

Communication with the spirits, often referred to as Loa or Lwa in Voodoo, is a central aspect of Voodoo rituals and practices. Here's an overview of how practitioners communicate with these entities:

1. **Rituals and Offerings**: Voodoo rituals are the primary means of communication with the spirits. Practitioners gather in a designated sacred space, such as a temple or outdoor altar. They often create an elaborate ritual environment with symbols, candles, and ceremonial objects. Offerings, including food, drinks, tobacco, and other items, are presented to specific spirits to gain their favor and attention.

2. **Dance and Music**: Music and dance are essential elements of Voodoo ceremonies. Drumming and chanting create a rhythmic and trance-inducing atmosphere. Through dance and music, practitioners enter altered states of consciousness, allowing them to connect with the spirits more profoundly. It is believed that the spirits may possess individuals during these ceremonies, providing a direct channel for communication.

3. **Possession and Trance**: One of the most distinctive aspects of Voodoo rituals is the concept of spirit possession. Practitioners, often referred to as "servants of the spirits," may enter a trance-like state during which a particular Loa or spirit is believed to take control of their body. In this state, the possessed individual may speak in the voice of the spirit, offering guidance, advice, or requests on behalf of the spirit.

4. **Divination**: Divination is another way to communicate with the spirits in Voodoo. Practitioners may use various divination tools such as tarot cards, cowrie shells, or casting of objects to seek guidance from the spirits. These divination practices help practitioners understand the desires and intentions of the spirits and may provide insights into their own lives.

5. **Prayer and Invocation**: Voodoo practitioners often use prayer and invocation to establish a connection with the spirits. Specific prayers or invocations are recited to call upon a particular spirit's presence and assistance. These prayers are typically passed down through generations and may be spoken in a specific language or dialect.

6. **Voodoo Dolls**: Contrary to popular misconceptions, Voodoo dolls are not used for causing harm but are symbolic tools for communication. They can represent a specific person or spirit and are employed in rituals to convey intentions, requests, or healing energy to the spirits associated with them.

It's important to note that communication with the spirits in Voodoo is a deeply spiritual and cultural practice, and the methods may vary among different Voodoo traditions and communities. Voodoo practitioners believe that these rituals and practices maintain a reciprocal relationship with the spirits, offering offerings and devotion in exchange for protection, guidance, and assistance in various aspects of life.

Masquerades and Voodoo in Africa: A Cultural Tapestry of Spiritual Expression

Africa is a continent rich in cultural diversity, and its spiritual practices are as varied as its landscapes. Among the many vibrant traditions that permeate African culture, masquerades and Voodoo (often spelled Vodun or Vodou) hold significant places in the hearts and lives of its people. This article explores the fascinating intersection of masquerades and Voodoo, shedding light on how these practices are intertwined with African spirituality.

**Masquerades: The Embodiment of Spirits**

Masquerades are a prominent cultural phenomenon across Africa, characterized by elaborate costumes, masks, and dances. These performances serve multifaceted purposes, including entertainment, social commentary, and spiritual expression. However, it's the latter aspect, the spiritual dimension, that ties masquerades to Voodoo and other indigenous African belief systems.

1. **Role of Ancestors**: In many African cultures, masquerades are a means of connecting with ancestors and spirits of the deceased. The masks and costumes worn by performers often represent these spirits. During masquerade ceremonies, participants believe that the spirits inhabit the masks and interact with the living. This interaction serves as a way to honor and seek guidance from the ancestors.

2. **Protection and Cleansing**: Some masquerades have protective roles in communities. They are believed to ward off evil spirits, illnesses, or other malevolent forces. These masquerades often perform purification rituals, symbolically cleansing the community and its members.

3. **Harvest and Fertility Celebrations**: Masquerades are frequently associated with agricultural and fertility rites. They may perform dances and rituals to ensure a bountiful harvest or to promote fertility among the community members.

4. **Social Order and Governance**: Masquerades also play a role in enforcing social norms and maintaining order within communities. They may act as judges, mediators, or enforcers of communal rules during their performances.

**Voodoo: The Spiritual Heartbeat**

Voodoo, a widely practiced religion across West Africa and its diaspora, is deeply entwined with masquerades and the spiritual fabric of the continent.

1. **Ancestor Worship**: Voodoo places a significant emphasis on ancestor worship, much like masquerades. Practitioners believe that the spirits of ancestors are ever-present and can influence the living. Offerings, rituals, and masquerade performances are ways to honor and seek the guidance of these spirits.

2. **Connection to Nature**: Voodoo, like many African belief systems, recognizes the close relationship between humans and nature. It views natural elements, such as rivers, forests, and animals, as inhabited by spirits. Masquerades often incorporate nature-centric symbolism in their performances.

3. **Trance and Possession**: Both Voodoo and certain masquerades involve altered states of consciousness. In Voodoo, devotees may enter trances and become possessed by spirits, similar to the possession experiences during some masquerade ceremonies. These states facilitate direct communication with the divine.

4. **Rituals and Sacrifices**: Offerings and sacrifices are common in both Voodoo and masquerade traditions. These rituals are believed to appease spirits and seek their favor.

**Cultural Resilience and Transformation**

While masquerades and Voodoo have endured the test of time and colonization, they have also adapted and evolved. In the African diaspora, especially in the Americas, they fused with other cultural elements and religions, giving rise to unique traditions such as Haitian Vodou and New Orleans Voodoo.

masquerades and Voodoo in Africa are vibrant expressions of spirituality, culture, and identity. They are living traditions that continue to shape the lives and beliefs of countless individuals and communities, offering insights into the enduring resilience and adaptability of African cultures in the face of change and adversity.

The timing for Voodoo practices, like many spiritual traditions, can vary depending on the specific tradition, the purpose of the practice, and the preferences of the practitioner. There is no universally "best" time for Voodoo practice, but certain times and occasions are commonly observed:

1. **Festival Days**: Many Voodoo traditions have specific festival days or holidays when practitioners gather to perform rituals and ceremonies. For example, in Haitian Vodou, the Festival of the Ancestors (Fèt Gede) is a significant event where people honor and communicate with their ancestors. These festivals often have fixed dates in the Voodoo calendar.

2. **Full Moon and New Moon**: Lunar phases are significant in various spiritual practices, including Voodoo. Some practitioners prefer to conduct rituals during the full moon or new moon, believing that these phases are particularly potent for spiritual work. The full moon is often associated with amplifying energy and intentions, while the new moon is seen as a time for new beginnings.

3. **Nighttime**: Many Voodoo rituals take place during the nighttime. This is believed to be a time when the veil between the spiritual and physical realms is thinner, making it easier to communicate with the spirits. Candlelit ceremonies, drumming, and dancing are common elements of Voodoo rituals conducted at night.

4. **Personal Preference**: Individual practitioners may have their own preferred times for Voodoo practice based on their personal experiences and beliefs. Some may feel a stronger connection to the spirits during specific times of the day or year.

5. **Life Events**: Voodoo is often integrated into various life events such as births, marriages, and funerals. The timing of these rituals is determined by the occurrence of these events.

6. **Consulting a Voodoo Priest/Priestess**: For more specific guidance on the timing of Voodoo practices, consulting a Voodoo priest or priestess is advisable. They can provide insights based on their knowledge and experience within their particular Voodoo tradition.

It's essential to remember that Voodoo is not a monolithic practice; it encompasses various traditions and regional variations, each with its own customs and beliefs. Therefore, the best time for Voodoo practice can differ significantly from one tradition to another. Additionally, Voodoo is deeply rooted in cultural and spiritual contexts, so practitioners often follow the customs passed down through generations within their specific communities.

[aeriona]

This took forever, but here is Harlow’s Salmon Running team!

EVP Grizzco. Employees often work in tight-knit teams of 4-7, depending on stage size and the pre-calculated hazard level.

This team has gone through a quite a few members over the years (through quitting or unfortunate, salmonid-related circumstances), but they still remain one of the most reliable teams in the Splatlands.

From left to right:

Delle Enigmata (Hawaiian Bobtail Squid), a relatively new member to the team with a background in automotive mechanics. She can quickly fix weapons and gear when they're in a pinch.

Lucien or “Lucy” Vespinia (Emperor squid), originally from the Deepsea Metro, they’re also an unlicensed helicopter pilot. They help take out boss salmonids on the shoreline, they manually count every flyfish they've ever shot since their first deployment.

Harlow Wellington (New Zealand Arrow Squid), best girl, she’s been Salmon Running for most of her life now. It's rough. Her fast swimming speed makes her great for collecting eggs.

Tangle Longfin (Caribbean Reef Squid), being denied from the military for his hearing loss, he opted to work for Grizzco. instead. He's quite resilient and can handle hordes pretty well.

Cherry Dofeini (Giant Pacific Octopus), A former high-ranking officer in the Octarian Army, she ran away to the Splatlands. Her understanding of the Inkling language is limited, but she's likeable and gets the job done.

[rapha-reads]

To those of you wondering (aka no one), I finished both The Vampire Armand and Merrick and I have a lot of thoughts and feels. I'm skipping Blood and Gold for now to go directly to Blackwood Farm (I'll read B&G later), but first I'm going to read something else, just to take a break.

TVA thoughts: man, Armand is messed up. And extremely compelling. But so messed up. As always, the theme of faith crisis, which seriously reaches new heights with these bitchy vampires, is not something I can fully immerse myself in, but it was fascinating to see his numerous metamorphosis. I liked how he bridges Western and Eastern Christianisme, especially through art. Now I'm thinking that if Rolin Jones makes him originally Muslim in the show, that could expand even more the conversation on how faith, and especially Abrahamic faith, has been in conversation for thousands of years and could be such a rich, diverse and spiritual, intellectual and artistic theme. I can already imagine some fascinating discussions comparing (not in a superior way but in a complementary way) coming from Muslim faith to Roman Catholic faith, the way book!Armand talks about the richness of his life in Kiev Rus despite the poverty and ascetism, and the richness of his life in Venecia despite the luxury and abundance.

As for Benamin and Sybille... I don't have much thoughts about them. Sybille is one of those female characters AR seemingly favors, not so much human as a nymph or a dryad, "perfectly splendid". And Benji is a caricature of an Arab child. Nuance? 401 not found.

Merrick thoughts: David for the love if everything, shut. The. Fuck. Up. Holy moly. I like David, I do, but damn the entire recollection of his history with Merrick was looooooong. I'm here to see Louis haunted by Claudia and haunting Lestat's coma, not how hard you're pining for the kid you practically raised! Also. ALSO. You're just going to leave that whole thing with the Olmec or possibly another more ancient Mesoamerican civilisation without ever giving us more? That was the most interesting part of it all! The vodoo history, the connection between Louisiana and Caribbean vodoo and old Native South-American religions! More about this, less about Merrick's perfect breasts, I am begging you. (It is at this point that the reader of this post realises OP is 100% definitely ace and more interested in books and witchcraft than breasts and whether a 70yo man can still get it up - also, hey, Anne Rice's vampires are practically asexual and their lust and pleasure is mostly derivated from blood, with some notable exceptions like Armand and Marius, and a love relationship between two vampires is then based on romantic love and blood sharing, so can I hear a hell yeah for some ace representation or are we still conflating eroticism with sex)

Another thing I kept thinking about throughout the book is how Louis is perceived by his fellow vampires. Since basically the second book, since we've lost his own POV, everybody who's ever said anything about him (so Lestat, Armand and David) have insisted on two points: how very weak and meek Louis is, and also how irresistible, beautiful and charming. Granted, I've known Louis first through his portrayal on the show (hi Jacob you're so fiiiiiiine), and then through his own narration in the first book, but I've never had the impression that he was weak. Beautiful and seductive, yes. Weak? I see a human man going through tragedies and still enduring, going through vampiric transformation and then suffering for decades the loss of his humanity, struggling with reconciliating both sides of himself, but mostly I see a vampire who rebuilt himself after losing everything without sacrificing his sense of self. I see Louis as very strong actually (up to the point where resilience breaks, because resilience cannot be sustained on a long term, but that's another debate). He knows who he is, and don't you know how hard that is? He doesn't cling to faith or pride. He knows he's doomed, he knows he's monstrous, he knows there's nothing he can do to change that, and instead of railing against his fate, he goes on about his undead life. He gets his books and he reads them, he surrounds himself with literature and what little comforts he thinks in his shattered self-esteem he deserves (his ragged sweaters and soft trousers); let's not lie to ourselves tho, Louis doesn't like himself, or more exactly he doesn't care about his corporeal body - what matters to him is his mind, and once again, this author is extremely ace and also very aro and very nonbinary, so Louis to me is very much ace and agender coded, though really not aro, because his love for Lestat (and sometimes his fondness, shall we say, for Armand) is the only thing that can rouse him up from his literary slumber.

...

Oh, man, I have a lot to say about Louis, for how little he appears in the books so far. Still have BF, BC and the PL trilogy to devour. So I guess you can say, for as much as Lestat is occupying my entire brain, very much like him, my favorite is Louis? Yeah, that tracks. Melancholy, quiet, dark-haired green-eyed monster with more humanity than humans, preferring his solitude and the company of books to anyone else, hopelessly and helplessly devoted to one person, expert in brooding and grieving, literature specialist, not very attached to his physical self. Yeah. I'm not surprised.

[reasonsforhope]

"We are thrilled to announce the launch of the Garifuna International Indigenous Film Festival (GIIFF) on November 9th-November 12th, 2023, a groundbreaking initiative dedicated to supporting and preserving the Garifuna nation and all indigenous cultures being held at the Electric Lodge located in Venice, California.

This unique film festival will create a platform for filmmakers, artists, and community leaders/members to showcase their works while emphasizing the importance of cultural diversity and representation. The Garifuna people, originating from the Caribbean Island of St. Vincent, possess a rich tradition and enduring heritage that deserves global recognition. The Garifuna International Indigenous Film Festival aims to bring this vibrant culture to the forefront and shed light on the struggles and triumphs of the Garifuna nation and other indigenous communities worldwide.

The underlying objective of GIIFF is to promote a deeper understanding and appreciation of indigenous traditions, values, and stories. Through the power of film, GIIFF aims to bridge gaps, foster dialogue, and debunk stereotypes surrounding indigenous cultures.

This multidisciplinary approach will not only provide a unique experience for audiences, but it will also contribute to the preservation of cultural heritage for future generations.

GIIFF will feature a diverse selection of thought provoking-international films, documentaries, workshops, cultural presentations, and short films that center around indigenous cultures. The festival strives to create an inclusive space, where filmmakers and artists can engage with industry leaders, intellectuals, and audiences who share a passion for the sense of community and collaboration, encouraging meaningful conversations and connections.

This inclusive space not only allows industry leaders and intellectuals to engage with these powerful stories but also invites audiences from all walks of life to immerse themselves in the beauty and diversity of indigenous cultures. The GIIFF is more than just a film festival; it is a celebration of heritage, resilience, and the power of storytelling."

-via Garifuna Indigenous Film Festival, October 2023

[alaskan-wallflower]

Do you prefer the Musical versions of the characters or the movie versions?

Oh boy-I have controversial takes

Ponyboy

For Ponyboy? I prefer his movie version if we’re talking about them looking like their respective ages but I do use Brody’s Ponyboy a lot more because in most of my content Ponyboy is aged up (because I like to make headcanons and comics for post book) so I do like Brody’s version of Pony as a more aged up version, say 17-18. I do prefer his hair in the musical since it fits the “brown almost red hair” thing better So both? Like I like movie Ponyboy because he looks 14 but Brody’s Ponyboy is just so lovable. I can see Pony looking like that aged up tbh. Also C Tommy Howell’s constant RBF in the movie goes hard 😭

Sodapop

It’s touch to say honestly. I like them both? I enjoy Jason’s portrayal of Soda and I don’t recall much of Rob Lowe. The only thing I do wish is that they made his hair more blonde so it would stay more true to the book but that’s just me being nit picky in the end. I do prefer the outfit Rob wore, flannels just seem very Sodapip esque to me. The only thing I wish was different was the portrayal of Sofa in the musical since he seems to be too much of a womanizer honestly and while Soda is flirty I feel like there are other aspects of his personality they could’ve played up. That being did I do prefer Jason!

Darry

It honestly took me a while to warm up to Brent. Patrick Swayze is literally Darry. I prefer Brent’s voice more but Patrick just looks more Darry. That’s not to say I don’t like Brent as Darry-I love him as Darry! It just took me a little bit to warm up to him. I think I like him more as a prson though if that makes sense-Patrick looks the part more. Also I have some choice words about Darry’s portrayal in the musical; while he was more well rounded emotionally and didn’t feel like a robot, I can’t get over how mean they made him in the musical. Especially the line about Dallas “giving up” because he killed his elf. I get where he’s coming from but like…y’know?

Johnny

Movie Johnny has a special place in my heart. Younger me had the biggest and fattest crush on him I won’t even lie. He also just…looks more Johnny? Smaller and younger looking. Also just his voice sounded more Johnny than Sky-I do love Sky though! Live laugh love Sky, but I just prefer the way Ralph played Johnny. Sky’s voice is lovely though and I love how he portrays Johnny as more strong if that makes sense? Like Johnny is still strong and resilient, he’s just quiet and more jumpy than normal. And I kinda like that the musical made somewhat of an emphasis on this.

Dallas

Musical 100%. I’ve kinda always liked the headcanon of Dally being black and the gang being interracial. And Josh just looks and sounds SO much like Dally. I like that they made him more well rounded too-they gave him a more sympathetic side and emphasized some of his better qualities and while he still is a little shit, he’s just…not just there to be a tough hoodlum y’know? I also really love his relationship with Johnny and Pony, the whole little brother thing definitely feels really good. I’ve seen people be mad that the gang isn’t all white but like…I think that’s stupid. I prefer musical Dally tbh

Two Bit

Also musical. Daryl Tofa my beloved <333 He reminds me of Leo Valdez from the Percy Jackson books and I love it. I love his outfit. I love his tattoos. I love his laid back energy and his relationship with Soda in the musical. I wish he had more stage time tho-like I wish they gave him his own little bit of time because I seriously loved Teo Bit being a POC. I can’t tell what his ethnicity is (Hawaiian? Caribbean? Can someone help me out 😭) but whatever he is I love two bit thing like that

Steve

Honestly I dunno-Steve is such a minor character in the book, movie and musical that it’s hard for me to say. I’m gonna say both because Tom Cruise is just so doofy in the movie and musical Steve is barely in it enough for me to make a judgement. I didn’t even know it was Steve when I first saw the show tbh, I just thought it was a character they added like Ace.

Cherry

Musical. She seemed a lot more…well rounded in a way? I like that they made her stronger and able to stand up for herself. I don’t remember much on the movie but I LOVE Cherry in the musical and I would so hang out with her-also Emma Pittman I love you Emma Pittman

[kemetic-dreams]

In the world of bare-knuckle boxing, one name emerged as a symbol of resilience and skill: Peter Jackson. Born in Christiansted, St. Croix in the Caribbean in 1861, Jackson would go on to become one of the most formidable fighters of his time, leaving an indelible mark on the sport. Beyond his boxing career, Jackson left a lasting legacy as a pioneer for racial equality in the sport. His success in the face of adversity helped pave the way for future generations of fighters, breaking down barriers and challenging racial prejudices.

[coralmorphologic]

A Tale of Two Corals (in the Anthropocene): The past summer’s record hot temperatures were devastating to South Florida’s reefs, wiping out a significant percentage of critically important staghorn corals (Acropora cervicornis aka ACER). Staghorn is a keystone species, and the primary coral grown by restoration practitioners in the Caribbean. They grow fast, but can die a lot faster. 

In 2009 we discovered a unique strain of staghorn coral that had naturally recruited to one of the breakwaters on nearby Fisher Island. Since 2020 we’ve been helping NOAA cultivate fragments of this urban ACER on an experimental nursery adjacent to the Camera. 

In conjunction with University of Miami’s Rescue a Reef program we’ve been using the CCC site to test the resilience of staghorn corals they grow offshore. Like other FL restoration orgs, Rescue a Reef saw many of their outplanted ACER die this past summer. Finding strains that can withstand future heat stress is critical for long term success in restoring our reefs. 

As seen in this 7 month timelapse, a fragment of urban ACER (we’ve dubbed the ‘Ventura’ strain) not only didn’t bleach, but grew at a significant rate. The 2nd staghorn, one of the offshore strains, began strong, but quickly bleached, died, and then was eroded away by parrotfish.  

In early August, UM transported fragments of the ‘Ventura’ strain offshore where the water was cooler for safekeeping. While the ‘Ventura’ strain has proven successful in the nearshore environment, it is important to see how it fares in deeper water before amplifying it for restoration purposes. We are pleased to hear from Rescue a Reef that it is thriving in its new environment! Preliminary analysis of the ‘Ventura’ strain shows it is hosting Durusdinium glynni zooxanthellae, a symbiont known to provide massive corals with thermal tolerance. However, its presence in Caribbean staghorn corals is previously undocumented. Could ACER ‘Ventura’ help restore Miami’s inshore and offshore reefs? Can it confer resilient genetics to future offspring by spawning it in a lab? These are some of the exciting questions we seek to answer in the future!

[hymemena]

Cephalopod, Crustacean, and Shellfish Headcanon Questions

Feel free to change pronouns as necessary, and remember to specify muse for multimuse blogs.

CW: Food

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Peacock Mantis Shrimp: How is your muse's eyesight? Good? Bad? Fair?

Common Limpet: Does your muse have an unpopular opinion on something?

Antarctic Krill: How available is your muse for helping others?

Colossal Squid: What is your muse clinging to?

Broadclub Cuttlefish: Does your muse hide parts of themself from others?

Colorful Hermit Crab: How sought after is your muse? Can people not get enough of them?

American Oyster: Is your muse easily manipulated?

White Shrimp: What does a typical night in look like for your muse?

Acorn Barnacle: Does your muse give up easily or are they ride or die?

Tiger Prawn: What does your muse do to show off?

Kisslip Cuttlefish: Is your muse stylish?

Dumbo Octopus: What is a subject your muse pretends to know a great deal about but doesn't actually know much about?

Hawaiian Bobtail Squid: What is a subject your muse just cannot understand?

Queen Conch: Is your muse prone to stealing?

Flamingo Tongue: What does your muse think about animal prints?

Striped Pyjama Squid: What does your muse wear to bed most often?

American Horseshoe Crab: How resilient is your muse?

Shortfin Squid: Is your muse considered tall or short for their age?

Blue-Ringed Octopus: What is your muse's main toxic trait?

Flamboyant Cuttlefish: Does your muse like to dress up?

Atlantic Blue Crab: Is your muse grumpy in the mornings or are they a morning person? Do they run on coffee?

King Crab: What is your muse known for?

Geoduck: Is your muse a foodie?

Chambered Nautilus: What is something your muse collects?

Giant Pacific Octopus: What is one thing your muse will run from every time?

Vampire Squid: What are your muse's defense mechanisms?

Decorator Crab: If your muse is hurting, how do they handle it? This can be physical, emotional, or mental pain.

Humboldt Squid: What makes your muse a smooth operator?

Caribbean Spiny Lobster: What is a valuable piece of knowledge to get close to your muse?

Caribbean Reef Octopus: What is your muse's least favorite color?

Giant Triton: Is your muse a good listener?