#fear of miscegenation

[if-you-fan-a-fire]

"SCRUTTON TO STAND TRIAL," Kingston Daily Standard. September 9, 1913. Page 2. --- Implicated in the Recent Hold-Up ---- The Evidence of Mar, Found Guilty on Similar Charge, Was Against - Him--Young Girl Given Month. ---- John Scrutton, the young man who was arrested some time ago on a charge of being connected with the theft of a watch from John Gibson in May last on Swift's wharf, was before Magistrate Farrell in police court this morning and was committed for trial.

The hold-up on the wharf will be remembered as two young men are already serving sentences in the Central for complicity in it. One of them at his trial implicated Scrutton, who had fled from the city, and was only arrested a short time ago. Scrutton will come before Judge Price for trial.

A young woman, who has been under police surveillance for about year, on account of her conduct on the street, was landed in the cells last night, and appeared before the court this morning. P. C. Mullinger gave evidence, stating that she had frequently been seen on the streets late at night in the company of a number of men. He saw her on Ontario street about one o'clock this morning with a white man and an Indian, and arrested her.

In sentencing her to one month in jail, Magistrate Farrell said that he wished he could commit several others who had been in her company and if he had evidence enough would do so.

[panicroomsammy]

In Gunfighter Nation, cultural historian Richard Slotkin discusses the myth of the American frontier and the ways in which the “hunter-hero” traverses the wilderness outside the corrupt commercial centers and embodies a “regression to the primitive.” As beings that exist outside the vision of those whom Sam and Dean call “civilians,” the demonic Others that threaten humankind within the context of the show are simultaneously the primitives the Winchesters must battle and the living reflections of dark powers that lie within themselves…

The Road to Lordsburg: Rural Masculinity in Supernatural by Lorrie Palmer

[txttletale]

h… how is any of that racist

assuming that you mean my posts about the 5e monster manual entry for orcs and how insanely racist it is--by happy coincidence i have a bunch of sources about this strewn haphazardly across my browser so i'm happy to answer this.

so we will start with this. the words 'tribe' and 'chief' are deeply, deeply racialised. they have been used throughout colonial (and well into modern and present-day!) history to describe groups of indigenous peoples across the world—with implications of 'primitive' people and societies within the Western myth of linear societal progress. europeans have nations and kings--africans and native americans have tribes and chiefs. the 'tribe' is not a neutral concept--it is a concept that was constructed by europeans in positions of global military domination over a century to justify a narrative about the linear progress of civilization to justify domination [1][2]. of course, it's not just the use of the words 'tribe' or 'chief' but their deployment here in the context of what is obviously supposed to be a 'primitive' method of of government--the 'orcish tribe' is inherently violence, a 'savage' society entirely built on "bloodlust" and "fear"

regis stella puts it much better than i could in this account of an early 20th-century travel memoir in Imagining the Other: The Representation of the Papua New Guinean Subject

while we're on this point i figure i'll add all the other language around 'savagery', 'inherent bloodlust' and so on in the monster manual here to further illustrate my point: it's all quite rote and repeats itself a lot.

now, wait, waiiiit, wait a second. wait a moment. hold up what was that last thing

oh thats not good. having to explain why this is racist feels a little like having to explain why its bad to hit people with hammers but i'll do it anyway: the comparison of real-life 'tribes' of people to insects, vermin, and pestilences is a very real element of genocidal rhetoric--from the holocaust [3] to the rwandan genocide [4]. what is the implied correct societal responose to a tribe that is 'like a plague?'

finally, this is the part that made me say "holy fucking shit this is in the 5th edition monster manual?" because it is pure undiluted gygaxian eugenics shit. first of all, the narrative of the ever-swelling horde, the indigenous or Asian people as an undiffernetiated mass of amorphous Other, is an old one and one that's been used to devalue the lives of people of colour and justify violence against 'the horde'. but the part that's absolutely jaw-dropping is the use of the tropes of reproductive racism--the narrative of Black and indigenous hyperfecundity is also an established racist trope, one which was instrumental in the forced sterilisation of Black and Native women in the USA [5] and now manifests itself in the "great replacement" demographic anxieties of modern racism [6] -- think of White Genocide conspiracy theories and the 14 Words. and of course that is to say nothing of the fact that is made very clear and reiterated (and mechanicised in the form of the Half-Orc player race!) that WotC wants to be very clear about how much orcs "readily crossbreed with other races". this is miscegenation anxiety, plain and simple--somethign else stella talks about.

so yeah! hopefully nobody will ever ask me this fucking question again! (this is just across two fucking pages of the monster manual by the way don’t get me started on the shit that’s in the other books! god forbid i even think about campaign modules!!)

[dailyadventureprompts]

Hi! I really like your other takes on Underdark races, and wanted to ask if you had any thoughts on improving grimlocks? Beyond the permanent blindness they have and the whole being humans who adapted to the underdark, there doesn't seem to be a whole lot else done with them.

Monsters Reimagined: Grimlocks

Would it surprise anyone to learn that a d-list d&d monster has It's roots in 1800s ideas about eugenics and bad adaptations of genre fiction? No? Then you've been paying attention, top marks.

Asker is absolutely right in their assessment that there's not really much to grimlocks. They're one of many "hostile tribal primitives" that have filled out the monster roster ever since the original developers lifted them en mass from the pulp adventure stories they grew up reading.

A common theme among these pulp works and the early scifi that inspired it was devolution, the idea that a people could degrade from greatness back into an animistic nature. The most well known pop culture example would be HP lovecraft's deep ones, where the author's fears of race mixing manifest as monsters that literally push humanity back down the evolutionary ladder to the stage of fish.

There's plenty of different ways to explain the origin of this writing trend, but I like to chalk it up to an anxiety resulting from the widespread acceptance of Darwin's theory of evolution by a society that believed wholeheartedly in scientific racism. If intelligence (read: whiteness) wasn't just a god given right but was infact inheritable, then it could also be disinherited, bred out of a population whether by on purpose or by accident. This made it so important to practice good breeding (read: eugenics), to preserve the pure stock from falling to degeneracy (read: miscegenation) and introducing undesirable traits into the genepool.

We can see fear this with grimlocks, humanoids who were inherently lessened by their "adaptation" to life underground, losing their intelligence and eyesight and descending into a state of barbarism. Given that this is one of the few d&d monsters that mention evolution at all, we can trace this feature to their likely inspiration: The morlocks in H.G. Wells' Time machine, published a scant 36 years after Darwin published The Origin of Species.

I'm not well read enough to know whether Wells pioneered the idea of subhuman descendants, but I can say that most of his imitators missed the point of his writing: Wells saw in his day an increasingly indolent upper class inflicting brutal and dehumanizing labour conditions on the poor to support their own carefree lifestyle. He satirized this in his book by showing that while the descendants of the rich had devolved into beautiful, useless, idiots, the descendants of the workers devolved into subterranean ape-things who maintained the machinery that allowed the eden like existence of the rich while farming them for meat. Say what you will about Wells' race politics (Neither degenerate fop or inbred ape can withstand the smarts and strength of the enlightened colonial Englishman) but his writing was specifically class continuous, and the brutality of the morlocks was a direct result of the exploitation of working people in his own day and age.

When the morlocks were adapted into the grimlocks , the d&d writers kept their canibalistic streak but specifically removed their class based origins as well as their mechanical knowhow. This is a near identical process to what happened with a creature the worlocks helped inspire: Tolkien's orcs, which were likewise turned from a commentary on the brutality of the industrial age into warlike primitives. It's a bit of a trend.

If you wanted to "fix" the grimlocks I'd go one of two ways:

If you want to engage with themes of primality, make them legit underdark dwelling primates/australopithecus type of creatures, just figuring out tool use and language. Make the rumours of them being descended from cave-exploring humanoids a common myth made up by surface dwellers.

If you want to get spicy about it though, give them back their mechanical aptitude and maybe mix in a few more dashes of pulp "lost civilization" ancient aliens nonsense. Have them dwell in great mechanical complexes beneath the earth, worker drones who've long outlived the creatures that enslaved them and scribed mechanical knowledge into their very being. Originally denied understanding of the machines they toiled to build, work, and maintain, the grimlocks jealously guard the science they've spent generations reverse engineering, giving them the reputation of being violently territorial for those underdark travelers who venture too close to the megastructures they inhabit.

Artsource

[probablyasocialecologist]

Mary Shelley’s 1818 novel Frankenstein is not, of course, an example of the imperial gothic but instead a still relevant anti-Enlightenment fable. If a novel ever illustrated how the sleep of reason begets monsters, it is Shelley’s story of how a scientist’s urge to create artificial life leads to utter destruction. However, in Universal Studios’s 1931 Frankenstein, the many pertinent philosophical issues that the original gothic novel explores reshape into thinly veiled imperial gothic through the introduction of a eugenic and highly racialised discourse that changes the monster from a rightfully vengeful and eminently intelligent being into an atavistic criminal. In its Hollywood guise, the monster is not a tragic, lonesome and then understandably vengeful product of unethical science but instead a reincarnation of the degenerate criminal whose brain the monster is provided with in the film. This takes on a peculiarly American dynamics in the movie. As Elizabeth Young suggests in Black Frankenstein: The Making of an American Metaphor (2008), a connection between the monster and the supposedly primitive black American was made as early as during the immediate post-Civil War period when ‘the “hideous progeny” of Shelley’s novel was symbolically reborn in racist parody as the symbol of the miscegenated nation’. An important reference to American Reconstruction history is also the ending of the movie. Instead of escaping to the North Pole, as is the case in Shelley’s novel, the monster is exorcised by what amounts to a lynch mob. In Frankenstein the movie, as in the American South, justice is done by the people on the spot; by ‘lynch law’. The violation of the sanctified space and body of Frankenstein’s fiancée, Elizabeth, as much as the accidental drowning of the little girl, justifies this public rage in the eyes of the movie audience. This is the end that comes to those who dare violate the purity of white women, or oppose the progress of modernity in any form, be they black Americans in the South, Native Americans on the reservations or unruly natives in the Philippines. Like so many lynching victims, Frankenstein dies in flames. In this way, the discursive conditions that informed the British colonial enterprise as well as the racism that structured black and white relations in the US permeate Frankenstein. The childlike and aggressive monster is an example of the kind of human category that can never ‘possess the intelligence to make a rational choice of political allegiance’, as Lansing put it. In addition to this, the audience is also free to imagine an alternative narrative in which Fritz never drops the jar with the ‘normal’ brain to the floor. It is not science or faith in modernity that Frankenstein fears, it is atavism. The resolution to the crisis that atavism constitutes is the sad but necessary violence of the lynch mob. When the monster has been burned, the movie can end with the happy union of the film’s central white couple.

Johan Anders Höglund, The American Imperial Gothic: Popular Culture, Empire, Violence

[finalgirlsamwinchester]

today's thoughts before passing out: the demon blood plot reading as a metaphoric fear of miscegenation, a result of classic Western tropes told through a Horror framework.

demon blood is a boundary crossing substance, invasive and transformative. Sam violated in the crib functions on one level as a rape metaphor, but its done so through demonic blood coming in to dilute his human blood. the violation then, comes in as a literal theft of identity. his body becomes the literal battleground between two forces - the domestic world of his family vs. the invading, monstrous outsider. Azazel snatches and preys on civilised children from the crib as a means of recruiting them to his tribe army, literally corrupting them on a bodily level, claiming them from their blood families as his own. and the more demon blood Sam drinks, the less 'human' he becomes (the less of his family's blood in him). Dean's anger over Ruby also ties into Sam's sexual relationship with her, of which the blood drinking is a component. the blood drinking is especially transgressive because it echoes deep-rooted settler colonial anxieties, expressed through the language of pop culture - fears over losing one's blood, family, and identity to a savage Other.

(4.04)

(4.21)

what got me started on this line of thinking was a recent rewatch of John Ford's The Searchers (1956), a movie so ingrained in the modern American cultural mythos that nearly every first year cinema studies course makes it required viewing lmao. it's a subversive Western, concerned with exploring the porous boundary dividing white settler communities from Native American communities, the defining line between the 'civilised'/'uncivilised', the colonial subject and the savage. it was released during an era when America was grappling with undoing laws around racial segregation, and reflects those anxieties through classic American mythology.

so. Sam is a modern interpretation of Martin and Debbie from that movie, and Dean is a modern variant on its leading anti-hero, Ethan Edwards (rather John is our initial Ethan figure, but we spend most of the show with Dean, who takes on his mantle). just to emphasise the connection between the show and this movie - Star Wars heavily references it, and Kripke's always been explicit about this show's two leads as Luke Skywalker and Han Solo. well, i'd argue this show definitely owes more to The Searchers than Star Wars does!

Martin is Ethan's adoptive nephew of partial Cherokee descent, made an outsider to his family, by his uncle, at the film's outset due to his blood. he joins his uncle on his revenge mission after a Comanche tribe destroys their home and steals his adoptive sister - Debbie. this mission becomes his coming-of-age journey into rugged frontier manhood, as much as it is his path towards integration into white, 'civilised' society.

the protagonist of the film is Ethan, a soldier who gets consumed by his seven year long, bloody, vengeance-fuelled quest to recover his niece. when he finds Debbie, however, to his dismay he discovers she's no longer the 'pure' innocent he remembers. upon finding out that she's married to the tribe's chief - he literally disowns her as his blood kin, and at one point, even tries to kill her. Martin becomes the one to save her from his uncle's shot and the one to convince her to return home. he later convinces Ethan to recommit to rescuing her, and he ends up doing so.

(15.17 - Sam over s4 functions as a Debbie figure, but Jack also takes up her role. Dean disowns him as Ethan disowns his niece)

over the movie, we see Ethan descend into ever increasing violence and 'wildness', grown closer to his enemy after years spent on the frontier, hunting them down. Martin gets to go home, his civilising mission completed as he marries into a white family. Ethan though, stands at the threshold in the iconic concluding shot below. he's been transformed by frontier violence to the point he no longer belongs to the domestic, civilised world. he wanders back out into the desert, alone.

(1.14)

anyways. Supernatural owes so much of its dna to the classic Western, and to this movie in particular. what The Searchers was to collective white American anxieties over desegregation in the late 50s, this show was to collective white American anxieties over multiculturalism at the new millenium, in the wake of 9/11. Sam's demon blood is a critical defining line between him and his brother, as Martin's mixed race status is the defining line between him and his uncle. 'monstrosity' on this show metaphorically stands in for savagery; one brother gets thrown out onto the frontier, a journey towards 'taming' his own nature. and another brother drifts further and further away from civilised society the longer he spends fighting at the frontier, protecting civilisation from its monsters. 'blood don't end with family' comes to a screeching halt when it addresses the prospect of monstrosity. what is demon blood standing in for on this show? what does a monster represent, truly? who gets to step over the threshold into civilised society, and what is the price of that acceptance?

[xenosagaepisodeone]

in that one 4chan greentext post going around satirizing the idea of america being the greatest country on earth (the one that starts with "pray to american flag for good fortune"), op cannot help but slip the fear of "my wife's boyfriend" into his dystopia (and later, people who dont speak english). even at his most aware, the white boy greentexter cannot mask his fixation on racialized cuckoldery. if anything, this state only further rationalizes his most irrational impulses. bosses, the military, hospitals and "my wife's boyfriend" are equally everpresent forces of subjugation, op's submissiveness and emasculation rendered evidence of this abuse. the reaction image accompanying the story is a man with tanned skin soyjaking in front of the american flag, a descendant in the lineage of /pol/ memes about how white americans arent really white people. at first glance, a ms paint drawing by a man seething about 'miscegenation', but with the added context, an inverted portrait of dorian grey. lovecraft ass microfiction

[alwaysbewoke]

Racist print promoting anti-abolitionists' fears of multiracial personal relationships. Created by Edward Williams Clay in 1839. On December 13, 1893, Judge Householder of Knoxville, Tennessee, sent an entire family to jail on felony miscegenation charges. Setting bond at $500, he jailed a black man named Jim McFarland, and his mother, Ms. McFarland, a black woman, Henry Whitehead, a black man, Harriet Smith, who local authorities reported was a white woman, and her children from prior relationships with white men, Lydia Smith and John Smith. At the time of arrest, the multigenerational family lived in the same household. The court’s order left a young child at home without a caregiver. The family spent over a month in jail before facing trial in January. Newspapers noted that Smith had reported to them “with shameless candor,” that she was actually a black woman—while her mother was white, her father was a light-skinned black man—and that she had never pretended to be white. Local news speculated further that since Smith’s children had white fathers, those children living with black men and women might violate the miscegenation codes as written “even should the taint of negro blood be traced to the remote degree claimed.” Local media and the white Knoxville community praised Squire Householder’s actions, reporting that he “came to the rescue of the community” by “starting a war on the crime of miscegenation.” Ultimately, a month after her arrest, Smith was tried before a jury that determined she was “of colored stock,” and acquitted her and Henry Whitehead of miscegenation. However, the jury still convicted them both of lewdness for living together, and they were each sentenced to 11 months in the workhouse. The cases against her children were dropped by the prosecutor after this verdict.

x

[bitter69uk]

“Merle Oberon, the durable Anglo-Indian beauty born Estelle Merle O’Brien Thompson in Tasmania (1911), made her film debut as an extra in a 1930 British B film, but soon her dramatic if one-dimensional beauty caught the eye of the Hungarian-born British producer Alexander Korda, who groomed her for stardom and was her husband for a time. In 1935 he sold a half-share in her contract to Samuel Goldwyn, another famous star spotter, who oversaw her transition from exotic to all-American. Never a top star but a popular actress in a number of prestigious films, Oberon continued to make periodic starring appearances until her death.”

/ From Hollywood Colour Portraits by John Kobal, 1981 /

Born on this day: exquisite golden age Hollywood leading lady Merle Oberon (19 February 1911 - 23 November 1979). Of course, we now know that Oberon was actually born in Bombay, India rather than Tasmania, but that wasn’t common knowledge when film historian Kobal wrote his book in the early eighties. In her lifetime Oberon took painful efforts to conceal her mixed-race heritage (when even an onscreen interracial kiss – then called “miscegenation” - was strictly forbidden by the Hays Code), including the use of toxic skin-lightening make-up containing mercury. (A few years ago, the reliably excellent and addictive You Must Remember This podcast devoted an instalment to Oberon – look it up!). In her romantic lead heyday Oberon specialized in period dramas (she’s probably best remembered for playing Catherine Earnshaw in Wuthering Heights (1939)), but I like her best in the movies that forced her out of her primarily decorative and ladylike comfort zone like the sordid Temptation (1946), the nymphomania-themed melodrama Of Love and Desire (1963) and especially the obscure 1956 film noir The Price of Fear, in which she plays a prim high society woman whose life unravels after a hit-and-run incident.

[velvetvexations]

can you explain the motivation behind your misgendering kink and how it works? i think i have one too lol

I like indulgent scenarios where I'm assuming this stereotypical and negative role, exerting the sort of power and duplicitous social advantages they tag trans women with. It tingles my sadism and masochism at the same time to be called an abominably creepy freak with (play-)aggressive intent.

That's somewhat rare, though. Most of what exists is more detrans kink, which I'm not really into but is like "oh you need to be made into the true alpha male that you are" or something like that. I don't want to fantasize about not being trans, I want to fantasize about a world where being trans is a bad thing lol.

I've sometimes wondered if there's a similar dynamic going on with kinks centered around Black men dominating white women, which I've been incidentally exposed to a lot in kink spaces because it's so overwhelmingly popular compared to the very niche stuff I have to scour sites for. A lot of it strikes me as a hyperbolic exaggeration of racist fears over miscegenation.

But I can relate to anyone else of any category who's like "...okay, well, that's a ridiculous to accuse me of, but after having these expectations drilled into me for years I'm ngl it's started to sound kinna hot and in a world where I'm being brutally oppressed while being cast as the villain I'm going to blow off steam by imagining a world where I am actually the villain with all the power in this situation."

With other trans people it takes different forms, of course. Misgendering kinks for AFAB trans people, from what I've seen trying to find content for myself,* is mainly an extension of misogyny kink with the added detrans layer, not too awfully different from like, that one fetish sequence where the butch punk girl is turned into a housewife. I don't say that because to make it sound like it's less radical than the AMAB version, and I could be minimizing and generalizing, I lovingly invite correction, but it's just such a radically different beast from what I like about fetishized misgendering, or at least it typically appears so to me. Like it's not better or worse, just very different, which is groovy and cool. Infinite diversity in infinite combinations.

*and there is a lot you have to scroll through to find good AMAB content! nothing but happy for AFAB misgendering kinksters though I love you and am so glad yall are getting what you want out of it

[warsofasoiaf]

Considering all of the nods to Lovecraft, do you think the seat of House Codd on the Iron Islands would basically be a medieval Innsmouth?

Honestly, I always attributed the scorn that House Codd received to be the result of bigotry, since House Codd descends from thralls and salt wives. In that sense, it actually *is* a nod to Lovecraft, since his Deep One hybrids were rooted in his fear of miscegenation.

Thanks for the question, Anon.

SomethingLikeALawyer, Hand of the King

[if-you-fan-a-fire]

"LIKES CHINESE MORE THAN FORMER LOVER," Toronto Star. April 11, 1934. Page 4. --- Rejected Lover Fined for Alleged Assault on Oriental Rival ---- Harry Chung, through a Chinese interpreter in women's court to-day. declared he was coming home with his girl friend on April 9 when Levis Richard allegedly assaulted him. "He give me a strike in the mouth and I fell down unconscious," he claimed.

The complainant denied that the girl had ever told him she had anything to do with Richard. "She wrote me a letter and asked me to get a marriage license," he explained, adding that he had the license but they had not yet been married.

Richard got out of a car and grabbed her against her will, the young woman, Mary Leblanc, testified. "I was standing on the steps talking to the Chinaman when he she said. "I ran down to stop the fight when he came."

"Would you rather go with Chinaman?" asked defence counsel. "Why shouldn't she, if she wants to put in the crown quickly.

The girl admitted she had lived with Richard for two years but she wanted to go with Chung.

"I Loved the Girl" "I loved the girl," Richard confessed. "I wanted to marry her but I didn't have a job. I wanted to talk to her. If she wanted to come with me, all right. If she wanted to go with him, she could go. I just wanted to get it fixed up."

Richard said he had come recently from Montreal and had brought the girl with him. A witness testified that Richard asked that he drive him to meet his girl.

"When we drove up to the house she ran down," he said. "The Chinaman went to jump down from the veranda and fell on his face. He was very excited and scared. There couldn't have been any blows that I didn't see. There weren't any."

"I have little faith in this man's evidence," said the magistrate. "He ought to have stayed at home with his family instead of taking fellows around after their girls."

Richard was fined $10 plus the cost of the interpreter, with an option of 30 days in jail.

Given A Chance When her mother took sick, Theresa Carty employed Mrs. Jessie McLeod to help her, she told Magistrate Patterson in women's court to-day, but when her mother got well, she looked in a trunk and found several curtains missing. Mrs. McLeod was charged with theft and pleaded not guilty.

"I asked if I could have the curtains along with some other clothing Miss Carty gave me," Mrs. McLeod claimed. She admitted telling police that one of the curtains belonged to her landlady. "She made a mistake when she told a lie," commented the bench.

"We admit that," replied defence counsel, "but this woman has a 10- months-old baby and her husband is out of work and I ask for clemency."

The accused was put on three months probation. "Should Have Known Better" Morris Becker was given a minimum fine of $20 and costs or 10 days for breach of the Theatres Act. Crown Counsel W. O. Gibson explained that he had exit doors bolted with hook and eye arrangement.

"This man has been in the business for seven years," began counsel. "And should have defense known better" interjected the magistrate, passing sentence.

Harry Richardson and Joseph Feder were charged with common assault.

"My husband ordered a suit from Mr. Feder," said Mrs. Mary Kwaisna. "I paid $5 deposit. He said I would get it back if the suit wasn't right."

Suit Didn't Fit The suit didn't fit, the complainant alleged. Her husband wanted his money back.

"Mr. Feder brought the other man, Mr. Richardson, and said he was a detective," the woman testified. "The detective said it was a good suit. He said it was worth $45." Mrs. Kwaisna admitted her husband was unemployed but she was working at odd jobs and expected to pay for the suit.

The outcome of the visit of Feder woman's husband, was that she was and Richardson, according to thrown against a sewing-machine by them. She had to have a doctor's attention, she said, and two visitors were knocked down in the struggle.

"How did they get scratched up." asked defense counsel. "They must have done it themselves." she replied.

After a lengthy review of the case Magistrate Patterson decided to withdraw the charge.

Chinese Scales Incorrect Young Chong appeared to answer a charge of breach of the Weights and Measures Act laid against Young's produce store.

"There was a scale in the store which shows one pound when a weight of 15 ounces is placed on it," testified an inspector.

The Chinese manager said he had moved the scales to wash the counter. Young was assessed a minimum of $10 or 10 days.

Ivan Watson was fined a minimum of $25 and costs or 10 days on a charge of breach of the Livestock Produce Act. He admitted selling 10 dozen eggs, of which 75 per cent. were said to have been incubated.

Black Eye Donated Chip Hewston was charged with assaulting Harry Fowler. "My real name is Orland." he told the bench. "And his last name is spelled wrong on the order sheet," added defence counsel.

"Are you sure this is the right man?" asked the crown. Fowler was not sure, but he had a black eye somebody gave him.

"I went up to my auntie's house," he explained. "I met this fellow in the alley and he started to fight." Fowler's aunt decided it wasn't Hewston who did the fighting and the charge was dismissed.

[slothyykittee]

Redesign and Rewrite - Alastor

Alright, let's start this with my most disliked character of HH due to the design and non sense story.

(Redesign, with Radio symbols.)

Alastor is born in the USA at the year 1891, in New Orleans, Louisiana. He wasn't born in the hospital like the others, and instead was born at home. This is because his parents committed the gravest crime in all of the United States (Miscegenation.)

His father is a rich merchant, and secretly works for violent ideological groups, of the conservative kind. He's short-tempered, insecure yet charming, and is pretty manipulative. He was VERY glad that his son didn't turn out "too" dark, or his son wouldn't even succeed in this political climate.

His mother was a poor farmer until she married the father. She's caring/compassionate, loving, and loves to give care to animals (she feeds stray cats when she goes outside) and also loves to cook.

(Alastor's mother. Young. With spoon and fork symbolism)

Unfortunately, though, His parents tend to fight a lot, With the father screaming and even hitting the mother. He also has hit his son. which leads the father to leave the family.

Alastor clings to his mother, scared to even go outside and meet people. His mom tries to calm him down with affection and teaches him how to cook. She prepares Alastor to go to school and goes there with his mom's friend. He's very quiet, which leads his classmates to see him as a sort of freak. Leading him to not make any friends.

(Alastor as a young boy, staring at the newly bought mirror.)

After Alastor became an adult, he got a job at a Radio station, yet it was far away from his home. His mom was very old and unable to take care of herself. He was worried and yet got reassured by his mom's friends that they will take care of her.

He made good money and a good reputation as a Radio Host in Louisiana and even got invited to a popular podcast in New York. Sadly though, he had to stop his work for months when his mother died.

Other than being a Radio Host, he was fascinated by crime and violence, which led him to actually commit murder. He wasn't guilty, instead used to body as something to eat. He liked the taste, which made him want to murder more people and get more "meat". The authorities were in high alert and tried to find the serial killer, yet with no success.

Alastor died in 1945 (aged 54) by being shot in the head by a deer hunter, after being attacked and bitten by dogs.

Fast forward to now, where he's the most feared overlord in Hell and "helping" Charlie with her Hotel, sometimes he wishes Charlie's idea works. Sure, he came here to burn the Hotel down in the end because "ENTERTAINMENT!" but... He wanted to be given a second chance, so he could maybe see his mother again, who's likely in Heaven.

----------------

That's the rewrite! I searched through the Web when writing this backstory, as I try to be accurate to old times, and the fact that I never lived in the USA so there's that.

I may do Angel Dust next, I don't know.

(Bonus Image: Valentine!)

[rabbitmotifs]

elaborate on the faulkner miscogenation incest paper

oh man i mean. yeah its just whats in the book.

which just kind of illustrates (to me) the whole books theme of the southern racial experience and the fear of miscegenation that ensured the destruction of the old south and its demonic legacies (sutpen)

[mmmmalo]

Do you have any thoughts on what's up with hussie obsession with combining established characters in the latter half of the comic? Davepeta, Jasprose, Lord English, all the rest of the alpha kid sprites? If that goes towards a discussion of Ultimate Selves, why is the most complete version of yourself someone who isnt even solely you anymore? Love your analysis!

Hello, welcome! Here's a couple approaches:

Sprites, like other alt-selves, can serve the elaboration of self-loathing: Characters want to be happy and are very scared that they are incapable of being happy. Seeing a version of themselves that achieved happiness by integrating another person can be a nightmare, seemingly confirming that misery is a defining feature of their existence. AR mocks Dirk in these terms, leveraging both his alleged supercomputer brain and his integration of Equius to make Dirk feel inferior, intrinsically lacking. Though in Vriska's case, the lack of modification on (Vriska) was also infuriating: their sameness meant that Vriska was not, as she likes to claim, the way she is entirely out of necessity. Alternate selves have a way of making people question themselves, mingled or no.

Sprites provoke an audience response: fans get angry when characters are diluted, be that through prototyping sprites or through "mischaracterization", flanderization, or other unpopular modes of personality change. Rose might call this protecting the brand. So you could allege, as the guys on HMTW occasionally do, that this gesture of defying brand integrity is calculated to raise reader engagement by corrupting a quality of the narrative that readers are invested in. It's a method of trolling.

It's a race-mixing joke: The word "miscegenation" (which replaced the earlier “amalgamation”) was originally coined in an ostensibly abolitionist pamphlet by pro-slavery agents. Their goal was to weaken the Lincoln election campaign by provoking a fear that gene-mixing was the explicit goal of the abolitionists, claiming in the pamphlet that race-mixing created a superior class of being. Insofar as Homestuck is a parody of racist rhetoric, the claim that the Ultimate Self (and the Ultimate Frog) is the product of the endless recombination of divergent selves seems downstream of this sort of sexualized racial fear-mongering -- Rose's ascension (ie her dilution) in the Epilogues plays into this by casting Kanaya as the impotent white cuck against Dirk's black stud: "Hes Going To Take Good Care Of Rose; Probably Much Better Than Id Ever Be Able To" is euphemism for sexual potency. (Cuck jokes have followed Kanaya since her early chatlogs: recall the phrase "Watching Oblong Meat Products Tumble Into Places They Dont Belong") Saturating the narrative with distraught reactions to more abstracted amalgamation serves the story's racial subtext

This isn't by any means exhaustive -- abstract fears of mixing and merging can also be applied to coitus, pregnancy, the blurring of masculine and feminine, etc. The narrative achieves its density and sense of abstraction by applying itself to multiple motifs at once, I tend to think. The different approaches can euphemize one another

[whitesinhistory]

On July 28, 1916, the chief of police in Louisville, Kentucky, announced the arrest of at least three people for interracial relations, or miscegenation. He also announced plans to open an investigation into the practice, which would “spare no effort” to prevent people from forming or maintaining interracial romantic relationships in Louisville. 

Earlier that day, Louisville police made at least three arrests involving allegations of interracial romance. Authorities first arrested Harry Jenkins, a 34-year-old Black man, and Alice Shumaker, a 30-year-old woman who self-identified as Black but whom police believed to be white. Louisville law enforcement jailed both Mr. Jenkins and Ms. Shumaker on disorderly conduct charges, though they stood accused of little more than being found under the same roof together at the same time. Unwilling to accept Ms. Shumaker’s own racial self-identification, the local jailor forced her to submit to a blood test “to determine whether or not” she was Black.

The same white Louisville officers who arrested Mr. Jenkins and Ms. Shumaker also detained George Eaton, a 16-year-old Black boy. After subjecting George to a search, the officers found photographs of three teenaged white girls in his pocket. George claimed that the white girls had given him these photographs and refused to identify them. The officers arrested George, while the chief of police directed other high-ranking officials in his department to “make a round of photo galleries” in the city of Louisville to uncover the white girls’ identities. 

Kentucky criminalized interracial marriages from the year it was admitted into the Union in 1792. At the time that Mr. Jenkins, Ms. Shumaker, and George were arrested, state law made it illegal for a Black person—defined by the Kentucky Supreme Court as a person with “one–fourth part or more of Negro blood”—to marry or live with a white person. Those found in violation of the law faced a fine of up to $5,000 and up to a year in jail. Black people charged with miscegenation faced dehumanizing treatment by law enforcement, and investigations and court proceedings were often humiliating and intrusive. Despite the fact that the Supreme Court invalidated all laws criminalizing interracial marriage in 1967, Kentucky did not repeal its anti-miscegenation statute until 1974.

During the Jim Crow era, one of the racial boundaries white people protected most fiercely was the prohibition on romantic contact between Black men and white women. Fear of intimate contact between Black men and white women was fueled by the pervasive myth that Black men were violent, sexually aggressive, and always in pursuit of white womanhood. In Kentucky and other states, these fears led to the aggressive enforcement of anti-miscegenation laws, the degradation of interracial couples, and the destruction of multiracial families. To learn more about anti-miscegenation laws and other policies enacted to maintain white supremacy, read EJI’s report, Segregation in America.