#it. it's an art museum fundraiser

[gay-jesus-probably]

The weirdest take I've seen on this so far was someone waxing poetically about how they're SO relieved they blocked this one celebrity for having the NERVE to not express an opinion about the Isreal-Palestine situation, and so obviously she's secretly a genocidal maniac that supported mass-murder, and they felt so relived after freeing themself from having that MONSTER on their social media feed.

And I was just looking at that like... dude. That's a teenager. You're in your late twenties. Why do you want a high school student with a massive audience to run their mouth about a serious and complicated situation they have no stake in and don't fully understand? Shutting the fuck up is actually the responsible take a lot of the times. A lot of serious situations don't need celebrities speaking up about it. Especially given that whatever statement said celebrity makes is usually just some shallow, pointless comment that comes across as just them exploiting the situation to make themselves look better. The respectful act is to shut up! It's not that hard!

jewish people online:

yeah we have to block and report people constantly because they post misinformation, harass us, send death threats, doxx us, send sexual harassment threats, go after our friends, and generally destroy our mental health. there's not really any super well known lists of people to block and report because ever jew has a different threshold of what they can handle seeing and want to see. some people do share information especially about particularly violent people to keep others safe. we'd really like it if more people spoke up about antisemitism but at the very least just leave us alone and fact check things

antizionists anti-israel (totally just the government) anti jewish people:

we've curated a huge list of celebrities and influencers for you to block because they haven't talked about our special cause (palestine) yet! we do not encourage you to make critical decisions about who you're blocking and why and instead we want you to just block every single person who doesn't talk about palestine. no we don't care that a lot of celebrities accounts aren't even controlled by them and are instead accessed mostly by members of their staff. its just common knowledge that the best form of activism is getting mad at famous people! then people look at those people and realize how bad they are -- wait what do you mean?? we're exposing these celebrities to more people and some of those people actually agree with them?? they could even gain support? or even if they lose followers they might have a smaller audience that's more interactive?? no no wait that can't be right. also when people post things without checking for misinformation because they fear losing support or even income it can actually harm palestinians?? because the aid is probably going to hamas instead? wait how is that bad hamas are our freedom fighters!! anyway ugh all this is making my head hurt those (((zionists))) are controlling the media

[holocene-sims]

belle of the ball ❄️✨🤍

[communistfries]

Fell victim to one of the classic blunders ("wow i should wear these heels more")

[pineapplesagainstpizza]

There's so much misinformation going around about the boycott list and the controversy with the met gala...

[nientedal]

This protest had solid intent but it's unfortunately really frustrating to read about. The article above does a good job of framing it positively, but most of the articles from more widely-read sources maintain focus on the Gala itself rather than the protest, because of course they fucking do; you are not going to have the reach doing this that you think you are unless you actually make it to the location where the event is held and can disrupt the photos, as we saw success with last week at the White House Correspondents Dinner. The odds of making it to the door without a plan are extremely slim, and sure enough, it did not happen this time. Protesters lingered in Central Park; those who did attempt to march on the Gala were blocked by police at every turn. If you're protesting an event as big as this one, you need a way to get your people to disrupt the event itself. At the bare minimum, you need an extensive network of media contacts pushing pushing pushing this on social media and in the news, or you are going to be drowned out by the spectacle.

I am absolutely not saying Don't Protest At Celebrity Events, but for fuck's sake, part of protesting is pushing your cause higher into the public consciousness and that is not going to happen here and it just drives me up the wall. You have to make sure you have laid the groundwork for your voice to be heard when you do something like this! You're marching against the goddamned Met Gala with no strategy to make you bigger and actually get you to the Met Gala? What?

I dunno. I see what they were trying to do, and it did get some news articles. But it does not seem to have succeeded in generating focus the way it would have if they had, you know, actually made it into the crowd at the door. I'm not reading that they had any plan to that effect and it's just so frustrating.

ANYWAY "nobody better be posting about" etc. etc. without also posting a link to a local bail fund if possible. In this case, that'd probably be the Action Bail Fund, which supports protesters in New York. Bucknell has a multi-state list of bail funds as well, though many of these are cause-specific. Do your own research, but please support protesters where you can.

(Here's also a link to a list of Palestinian fundraisers that I believe have been vetted as legitimate. Clicking here will generate a random fundraiser from that list; the website's About page says they prioritize fundraisers that haven't gotten as much attention or have stagnated. So, that's cool. Donate & signal boost, you know the drill; getting more eyes on aid will hopefully help individual people a bit more than just posting a vaguely guilt-trippy link and calling it good.)

nobody better be posting about the met gala without mentioning the giant pro-palestine demonstration going on outside

[lizardsfromspace]

Not that it's above criticism, it's not, but I feel your Met Gala take should at least acknowledge it's a fundraiser for an art museum with pay-what-you-want admission instead of vaguely presenting it as as if it's an event where everyone goes to dump their money in Scrooge McDuck pits and jump around in it

[uniqueartisanconnoisseur]

Annie & I Take Altamont!

The first time I saw the small town of Altamont, Illinois was this past June at the John Deere G reunion. I was taken with the lovely mansion I saw there. We also loved the fun antique shop the hubby and I stopped at. I saw that they were having a music and wine fair at the Charles Wright House Museum. I thought perfect! A trip for Annie! About once a month or so, my friend Annie Jansen and I…

[swordandstars]

@copperbadge: Donors gonna Donor. #nonprofitlife

Meanwhile, in London...

Via @oldenouughtosay over at the Ex Bird Place:

"The National Gallery in London is renovating its Sainsbury Wing and they’ve just found a secret letter from one of the original donors, sunk into a concrete column, saying that he hates the columns and is glad they’re being demolished. 10/10 unhinged rich man behaviour, no notes"

Here are the columns...

And here's the letter.

[fading-event-608]

A fig tree for pixel dailies.

"Figs are planted in most Palestinian cities. However, it is most common in two districts, Nablus — especially in the village of Tell — and Ramallah — namely in Silwad, which became known as Im-Qutteen (mother of dried figs). Other villages also have names relating to the fig, such as Teeneh (fig). There are also flat areas called masateeh referring to the places where figs are dried to produce qutteen.

The fig has long been linked to Palestinian cultural heritage because it is nutritious and filling, and thus a staple of the Palestinian diet. It was known in Palestine as far back as the Canaanites. Palestinians have their own terms for the fig: while it is forming, the fruit is taqsh, then faj and then ‘ajr. Other used terms are nafal and thbeel.

Old traditional sayings reflect the importance of figs in Palestine. For example: ‘I tasted the first fruit, I hope my life has a long route’; ‘Eat the figs from the early season and the grapes from the late season’;* and ‘If we have qutteen (dried figs), we are safe from hunger.'"

-from The Palestinian Museum which took that info from 'A Garden Among the Hills: The Floral Heritage of Palestine'

Trees, would it be olive trees (which I also have a drawing of) or fig ones are important in Palestine. Just like in other countries, they provide shade, fresh air and produce. But in Palestine, they are also a symbol of resistance - as long as family's tree is growing, they are growing too; as long as the tree is alive, they are alive too.

When Israeli occupiers takes Palestinian's homes that they've built over multiple generations, they take their trees that they groomed too. When IOF drops bombs on civilians, they take trees with them. They uproot the trees, they burn them - because those trees remind them of people they've killed and whose land they have taken.

It seems like the world is slowly growing numb to cries for help; it seems like people are closing their eyes and covering their ears to not see the Palestinian blood on their screens, to not hear them scream. And Israel sees that and continues it's aggression on Lebanon. After all, if they can get away with a year (76 years) of genocide, why not start another one?

Please take any action you can. Protest, boycott, keep your eyes on Palestine and please, please, please donate to Palestinian fundraisers. I have spotlighted one fundraiser, for Falastin's family evacuation funds from Gaza that she organized in late June - it is still very far away from it's goal.

There are 24 family members that depend on that fundraiser. They need not only evacuation funds but also money to buy basic necessities like food and medicine that are very expensive in Gaza right now. Recently Falastin started hearing them talk about waiting for their fate because the funds this campaign gets daily are not enough to ease their suffering and cover evacuation.

Please, do not let it happen. Please, donate and check conversion rates before you do as:

10$ = 103 SEK

25$ = 257 SEK

50$ = 515 SEK

100$ = 1,030 SEK

I've talked about this fundraiser before numerous times, a lot of info can be found on this post [here] or [here].

Vetting info: #282 in El-Shab-Hussein and Nabulsi's spreadsheet [here], #957 in the Butterfly Project spreadsheet [here]

I do semi-regular art updates (last one [here]) and accept commissions for proof of donations, please dm me for info as my art blog was terminated recenty.

[suchananewsblog]

Met Gala cockroach crashes red carpet — but its fashion dreams were squashed

He was snug as a bug on the red carpet. Amid a sea of the world’s most glamorous A-list celebs, it was a lowly vermin that stole the show: A cockroach undoubtedly solidified its spot atop the pantheon of famous New York Pests after it was spotted scurrying down the aisle at this year’s Met Gala. A Twitter video, posted by Variety, showed the uninvited pest darting across the red carpet after…

[thosewickedlovelies]

A guide to writing fics set in museums / with a museum worker character

Hey hi hello it’s your local museum worker here, offering you some insight and tips to writing museum-related fics! This is primarily organized as a list of different jobs you could have in a museum and what their duties entail. This post might also be useful to you if you’re considering working in museums and want to know What Goes On In There. Let’s go!

For simplicity/fic-writing purposes, I would divide museums into 2 very rough groups: large national or city museums that Have Money (think the Smithsonian or British Museums, or the Chicago Field Museum or the Royal Armouries Museum in Leeds); and smaller local museums. These could be local industry and culture/history-of-our town museums, historic houses, or  really niche subject museums run by One Person With A Passion.

Big national museums have a fuckton of staff and money (museums can never have enough money. But these places are very well-off compared to somewhere small that might always be hustling and writing grant applications). If you work here you’re likely to have a specific role in a particular department, and you probably won’t do much outside this role (ex., if you work in collections management, you probably won’t also design exhibits)

The smaller the museum, the more varied your workload will be/the more likely you are to be doing a little bit of everything. You’re probably organizing collections storage, manning the front desk, and desperately running fundraising efforts, all at once. 

To this end, smaller museums are more likely to be closed one or two days a week- you’ll be there, probably cleaning displays or managing storage, but visitors won’t be.

A lot of (most?) universities also have museums, so a college town setting is also doable. But the same big vs small museum disparity is still possible! At Penn State University, for example, the Palmer Art Museum is its own (recently redone iirc) building in the center of campus with a lovely plaza out front, while the Matson Museum of Anthropology is uhhhhh a couple classrooms in the Anthropology Department (which they’re currently rebuilding tbf, so we’ll see what they’ve done with it in 2025).

Types of Jobs

Curator

The one museum job that everyone can name. Nominally the person in charge. Probably laments that their job is way more admin than fun hands-on stuff now.

Actually this is the role I have the least knowledge of, but I think that’s partially because this job might vary the most from place to place? Structural organization can vary a lot between institutions, but I think the higher up you get in any field, the more your job tends to consist of meetings/overseeing, designating, and ~liaising~

A list of things a curator might do:

Planning or approving events and fundraisers, schmoozing with donors and members at said events, approving or designing a schedule of exhibits, publish outreach/advertising or research materials, oversee hiring, approve new object acquisitions (or de-acquisitions), generally make sure that the museum is working within the scope of its mission and if necessary, change or refine their mission

The curator might not necessarily control a museum’s funds; in this case they’ll liaise with the people who do, likely a Board of Executives or Board of Trustees. Once they get the money from these people, though, they could potentially redistribute it as they see fit.

 If you work in a fuckoff museum like the BM, you could also be the curator of a specific department, arranged by overarching subject, geographic area, time period, or even object type (eg Curator of Archaeobotany, Curator of Korean Collections, curator of coins from the medieval period). These categories can be more or less specific depending on what kind of holdings your museum has. I think these types of curators would still be able to do interesting things, as they aren’t the ones who Oversee The Whole Place.

You can also be an assistant or associate curator, like being an assistant manager.

Education/Engagement

These are the people who design fun extra activities (esp for kids) in the galleries or relevant events/workshops/lectures the public can attend. They might be called Engagement/Education Officer or Events Manager or anything similar

Again, the bigger the museum you work at, the more specific your role is likely to be. You might focus on web content/outreach and social media, manage the ‘friends/members of the museum’ program, or engage with shareholders, etc

Or you might do things like develop content and events to engage adult audiences. Workshops or lectures connected to new exhibits, after-hours visits. These people are also probably the ones with an eye on accessibility- you’ve probably seen advertisements for museums’ early or late hours for older visitors, or ‘quiet hours’ for people who might be overstimulated by normal museum hubbub, or tactile workshops designed for visually impaired folks.

I think most places would try to have someone specific for kids activities at the very least. They’ll be designing little activities or dress-up stations for the galleries, kiddie mascots or scavenger hunt trail kind of things, as well as, potentially, activities for any digital elements in the museum. They probably also coordinate school visits and act as a tour guide for classes, and will lead the kids in specific workshops or lessons in classrooms attached to the museum.

As a note on technology- some people would probably say that integrating digital elements into exhibits is the ~next big thing~, that museums have to get with the times in this regard, but opinions vary. Big science and technology museums are the most likely to have the most digital and techy elements in their exhibits, so if this is your setting, your character could also be a generic “tech person”. I would go so far as to say the smaller/more local the museum, the less technology you’re likely to have, but smaller museums are able to get grants, some of them potentially for specifically this type of thing, so it’s totally possibly that they have a few tablets with integrated activities, or some other Digital/Screen Thing.

Engagement Officers are probably the most likely people to be drafted for out-of-hours events, so that’s a potentially fun thing for your character to do. Some museums, particularly bigger ones, have event spaces attached that anybody can rent out, for weddings, galas, markets, etc, so they might also take care of these bookings as well.

Exhibit Design

This role has a lot of nebulous terms: exhibit coordinator, design constructor, exhibit programmer- but these are the people who design the exhibits. They’ll come up with a theme or narrative, a design scheme, choose the objects, write the text. They’ll probably come up with some marketing material as well, that matches the design scheme, or they’ll liaise with the marketing people who will.

These people might not be as familiar with the collections as the collections management folk (below), depending on how strictly divided your roles are, so they’ll likely consult with the collections people on choosing objects for a particular exhibit or theme (they say that good exhibit design builds an exhibit from the objects up, but I digress).

These people will also direct and participate in the install and deinstall (the actual terms) of exhibits- putting the objects on the right plinths/stands and arranging everything just so in the cases. Genuinely there’s a lot of psychology behind exhibit design- colors, lighting, the way you might design an exhibit to be navigated vs the path people will actually take through the gallery, people’s sight lines and where their eyes go first, how the display of any given object affects people’s perception of the importance of that object. Fascinating stuff, many books on the subject. 

There are also a lot of accessibility concerns to be considered here- how bright is the gallery, how large is your display text, at what height is the central eyeline of your cases?

Museums often loan objects to and from each other’s collections, so if you’re building an exhibit and you’d really like to include X type of object but your museum doesn’t have any, you can borrow some from another museum (this isn’t necessarily a guarantee- museums are allowed to say no to these requests, but I think manners would dictate that they should have a good reason)

Museums sometimes tour whole exhibitions as well- the objects, the text placards, maybe even the stands for super special or fragile items- and exhibit coordinator people are the ones who would handle those arrangements.

Potentially good opportunities for angst stories here- wow things come to life at your museum, you fall in love with a statue but oh no it’s only at your museum for three months

Collections Care

People who work in Collections Management have the most direct contact with the museum objects themselves. You probably work here if you prefer objects to people. When a museum gets new material, these are the people involved. They might not always initiate acquisitions, and the final approval is probably down to the relevant curator, but 98% of the time they’d be consulted (I hope).

A mind-boggling statistic is that most museums only have like 10% of their collections on display at any given time. Yeah. Forreal lol. But collections folk will know where the other 90% is and what’s in it (particularly the longer they’ve been there). 

There’s usually a head Collections Manager. Other workers might be a Collection Assistant/Associate, Collections Officer (we like calling people Officers for some reason), Registrar, or some variant of these depending on the specific flavor of your duties. 

Main job duties can be divided amongst documentation and database work, organization and storage of objects, and lite conservation. Just how much/how technical the conservation work depends on your own training, but also on the size/funding of your museum. The more money, the more likely your museum is to have its own lab with people specifically trained as conservators. More on them later. 

Here’s what happens when a museum gets new stuff!:

Ideally, it goes to a ‘quarantine zone’ first. This is a separate space or room where the objects can relax for a few weeks to a few months (ultimate best practice is actually a year, but, you know. that’s a long time) to ensure that they’re not harboring anything icky (bugs, mold, etc) that will infect the rest of the collections. It’s ideally super-sealed and climate-controlled, but the primary feature should be that it’s away from the main collections store.

Collections folk do the paperwork. They’ll give each individual object a unique number (following their preexisting system that will allow it to be identified distinct from all the other objects in the collection). They’ll create a ‘collections record’ for the object- documentation containing any and all information about the object. This includes the accession paperwork (everything that says ‘we legally own this now’); provenance info (all previous owners and everywhere else the object has been in its life); measurements and description (in painful detail); and conservation history and concerns (ie ‘there’s a crack in the side so pick up with care’, ‘this was repaired in the 70s so that glue is gonna fall apart any day now’).

(I'll say as a fic writer that this would be an great time to wax poetic over a beautiful statue or painting; you can’t write “This golden crown deserved to be worn by a great king, or maybe by that broody Roman general in the painting in Gallery B” in the collections paperwork, but you can think it.)

For fiction’s sake, your collections records could be either paper or digital, but in an ideal world a museum would have both setups, for security’s sake. So you’d fill out some long forms and/or input all the information to the digital collections management system (‘the CMS’, or referred to by your specific software’s name, as there are many out there). The CMS is not a static archive, but rather a living register that’s updated every time an object is interacted with. The object records also include where an object is at any given time (‘normally in Case E in the Fancypants Gallery, currently in Conservation Lab A for repairs’).

Once the objects are done in quarantine, they’ll go to storage. If they’re being displayed immediately, they’ll probably go to some interim storage space/shelf with other objects for the same exhibit and in that case only get a temporary setting. Every object will get labeled with their object number (directly on them, with a special pen that’s safe for this. Or if it’s really tiny, like a coin or jewelry, then their own tiny box will get the label). Small or fragile items, or items grouped together, will go in their own boxes (made of acid- and lignin-free cardboard or polyethylene plastic, like Rubbermaid totes; lined with polyethylene foam and then acid-free tissue paper). Stable ceramic vessels might sit directly on lined shelving, particularly if they’re very large or heavy, like many stone objects.

Listen, every type of object has a particular way(s) of storing that’s best for them, you’re gonna have to look that up yourself or consult someone if you need that level of detail

Ideally, before being stored away, objects are also photographed. This could be part of the Collection Officer’s duty, and/or your museum could have a photographer on staff. (say it with me:) This is more likely if your museum is really huge and/or has a backlog of unphotographed collections and has hired someone specifically, even if temporarily, to improve its collections documentation.

I would say a collections person, or anyone with a museum studies degree, should have some minimum amount of conservation knowledge that includes basic storage standards for different object materials, how to spot potential preservation problems (like if your bronze axe head is actively oxidizing or if that green spot looks the same as it always has since starting and pausing decaying), and maybe how to give objects a basic clean or deal with certain types of problems. But the nitty-gritty science is more the realm of Conservators, someone with a degree that ends in -Sci or who’s done some other certification course.

The general collections store should always be dark, slightly too cool for prolonged human comfort, and labeled to high heaven. Objects will most likely be grouped by material- ceramics/pottery, metals, precious metals and stones (jewelry or beads), stone, glass, wood, bone/ivory/other organic material like feathers or teeth or anything that can be decorative, textiles, paintings. A museum often has some paper material/documents, usually part of or related to a group of objects they acquired, but generally paper and photographic material is the realm of archives and archivists. Yet again, the bigger/more well-funded the museum, the more likely it to have a separate archive department, so your character could also work as an archivist in a museum.

Another thing the collections care folk probably do is ship objects. Remember how I said that  museums loan objects and exhibitions to each other? The stuff’s gotta travel somehow! If things are being shipped internationally, they’ll go in big wooden crates, with specifically dimensioned partitions inside. Then it will be lined with our favorite foam and tissue paper, cut so the objects sit snugly inside. I haven’t personally worked anywhere with a possibility of local shipments, so I can’t say where the threshold might be as to when a museum would just pay an employee to drive the objects over vs ship them with a shipping company. But the preparations would be similar, minus the big wooden crate but with extra-careful packing (and paperwork and insurance etc)

Conservation

Conservators are the people who work in labs with fancy equipment. Not every museum will have a formal conservator or a lab of any kind; sometimes the collections care person fills this role, or if something urgently needs care beyond the abilities of the museum’s equipment, they might send it away to a lab elsewhere, the same way you can send your old VHS home videos to a professional archive to be digitized.

If an object is actively deteriorating in a way that could harm itself or other objects (as opposed to like, at risk of fading bc the lighting is wrong, which is a straightforward fix related to the environment), that’s when a conservator would intervene.

Some methods/machinery by which you can analyze objects:

Ultraviolet (UV) and infrared (IR) light - Different materials absorb and react to light differently, which you can use to identify them. Useful for seeing things like the different layers of paintings

Stereo-microscopy (microscopes, of varying strengths)

At magnifications of x5-x100 you can see things like tool marks from an object’s manufacture, traces from wear, deposits, and coatings

At x50-x500, with a thin sliver of a sample, you can see (and hopefully identify) fibers, layers, particles, metallographic structures 

You can get information from objects without taking samples, but samples are usually worth the information. 

energy dispersive x-ray fluorescence spectrometry (EDXRF) - EDXRF allows you to identify the elemental composition of the surface layer of an object. So it might tell you what a tool is made of, and also the composition of the objects it was used on, if they left traces

scanning electron microscopy (SEM) - an SEM uses a focused beam of electrons to produce a magnified, high-resolution image of the surface of an object

X-radiography, both film and digital - X-rayy are beneficial for objects that might be covered by dirt or corrosion and can show you details of an object’s construction or hidden structural weaknesses

I’m not a conservator, so if you want more hard science-based info, ask one of them lol

Listen to me. If you take nothing else away from this post, let it be this:

 Once an object is in a museum, it is never seeing natural daylight again. Sunlight is the ultimate enemy of every object’s lifespan. If you need to see an object in the sun or moon light for ~magical spell reasons~, you will straight up be stealing that object to smuggle it outside.

Okay. That being said, you do hear (and could probably google) stories about museum employees stealing things from their museums on purpose to prove a point about security or insurance to their higher-ups, so like. Depending on your type of museum, it might not be impossible to steal from lmao. (Don’t tell anyone I said that.)

Possibly the most useful advice for you to keep in mind when writing your conservator or collections care characters would be that touching objects hurts them. It might not hurt them now, it might not even hurt them in ten years, but every time you handle an object, there’s a risk that you’ll damage it. Not on purpose, obviously, but to err is human. The simplest, most effective advice my conservation professor ever gave us was “don’t handle an object if you don’t have to.” That means don’t move an object without a plan and a place to put it, first examination should always be visual, not tactile, etc. Unfortunately, that means that your character cannot walk around lovingly handling and caressing their favorite objects (unless this is a Night at the Museum situation where the objects are caressing them back, ykwim)

Museum Technician

These people probably have a lot of different names, but basically, technicians are the background muscle of the museum. They do the technical construction of bigger pieces of exhibition material, up to and including the exhibition cases themselves. 

So they wouldn’t deal with the small mount that the object rests on, but they might build the big plinth that the mount sits on. They’ll help move things around the building, particularly big heavy things, hang big framed works, assist with exhibit installs, and generally do most things which might involve power tools/equipment or heavy lifting

I worked in a big museum that hired a third party company to supply their technicians; I interviewed at another place that hired their own. If you’re a small museum, you might just have a freelance person that comes in once or twice a week to help move things.

Other

Other miscellaneous roles one could have in a museum: researcher (for exhibits and/or collections), gift shop or cafe worker, security guard, room attendant, translator, archaeologist, consultant

Honestly, TL;DR? Just have your character be a consultant of some kind. “Oh no, I don’t work here, I’m Y’s friend. They called me in to provide some expertise on X subject that they’re doing an exhibit on.” This could work for literally any subject- history/archaeology/anthropology, art, transportation, science and technology, anything you might find pictures of in an archive, idk. This could get you into an office or meeting room of some kind in the ‘employee only’ space of the museum, or potentially all the way into the collections store if you’re giving them information they were missing about some objects. Otherwise you’d probably (hopefully) need a key or some other kind of security clearance to get into the collections store.

Whew, that was a ride, huh? I hope this guide was useful to someone! I’m always open to answering questions if you think I forgot something or if anyone wants more details <3

[astraystayyh]

Starry night.

in which you and hyune fall in love through paintings.

idol!hyunjin x museum guide!reader. love at first sight, kinda. both mc and hyune are romantics.. lots of art analysis and conversations. very fluffy and soft. like so soft i hurt myself with this you guys.

all the info about Vincent Van Gogh’s life and works are from the Van Gogh Museum. the interpretations are my own but im not an art critic, obvi, just a yearner 💔 please enjoy, feedback is highly appreciated 💞

thank you to the lovely reader who commissioned me!!!! the money went to our stayblr fundraiser for palestine. please consider donating if you are able too as well <3333

“You’ll be able to do it, right?” Your manager Martin looks at you expectantly, and you blink slowly in response. It, referring to leading a private tour of the Van Gogh exhibition.

You’ve been a museum guide in New York for four months now. When you’re not painting, you’re here, amidst the array of artworks nestled in a quaint street near East River. You’ve led group tours before, always under the watchful eye of Martin, a middle-aged man who never forgets to bring you a vanilla bourbon macaron every morning.

However, you’ve never handled a private tour before. You see the desperation in Martin’s eyes as he awaits your answer—he’s the one who usually handles these tours, but he has urgent family matters to suddenly attend to.

You blink again, your tongue unknotting in a split second. “I’d be happy to,” you beam. The exhibition feels like a second home to you; you’ve visited it countless times long before you started working here.

Martin heaves a sigh of relief, smiling back at you. “I believe in you,” he reassures, placing a comforting hand on your shoulder. “Remember why I chose you.”

You grin at his words, nodding vigorously. Your love for art brought you here; your very being seems molded to breathe in paintings and live among them. It’s as sweet a life as it can get.

“You’ll find all the details about our guest in our log. He’s famous, so he’ll be a bit discreet. He’ll expect you to be too,” he explains, hurriedly packing his things. You nod, taking the keys to the art gallery from his hand.

“Don’t worry, the gallery is safe in my hands.”

“I know,” he says with a comforting smile, before finally waving goodbye. You take a deep breath and check the booking for tonight’s exhibition—Hwang Hyunjin.

The name is unfamiliar to you, and so is the face that greets you at 8 p.m. sharp—at least, what you can see of it. He’s wearing a navy cap and a face mask, with a varsity jacket sitting perfectly atop his broad shoulders. He looks young, roughly your age.

“Hi, welcome to our Van Gogh exhibition,” you greet him with a grin. He bows slightly in response.

“No one’s here, so you can remove your mask if you wish. I can take your bag as well,” you offer with a smile. He nods and hands you his black duffel bag, which you quickly pass to the security guard, who places it inside a safe cabinet.

Hyunjin removes his Versace cap, running a hand through his silky black hair. There is an aura of assurance around him, as if he’s poised before a camera in a professional photoshoot. But then, a shy smile appears on his face as he finally removes his face mask, his eyes glinting beneath the golden lighting.

You feel your breath catch in your throat; for a split second, the world around you seems to still, the paintings dimming before the beautiful face in front of you.

“Right,” you clear your throat, “shall we?”

Hyunjin nods, falling easily into step with you. You pause before the first painting, ‘Woman with a Child on her Lap’, 1883.

“This is rumored to be about Sien Hoornik, who became both Vincent’s lover and model. She was a former prostitute, pregnant at the time, and had a five-year-old daughter. Vincent was determined to help her through her hardships, and they dated for a year and a half. But then, he broke it off because he said she was too far gone to be saved.”

Hyunjin nods, his eyes fixated on the painting, his head tilted slightly to the side. “The eyes are telling,” he speaks for the first time, and his voice floods your being like dewdrops reviving flowers at dawn. It is smooth and soft, the end of his words getting lost in the air and caught by your heart.

“The way the mother and daughter look at each other, I mean.” He clarifies, stealing a fleeting glance at you. “There is disdain on the mother’s face, but more toward herself, I think. Maybe because she sees her reflection in her daughter.”

Groups usually scurry past this painting, eager to see Vincent’s more renowned works. You feel your heart soften at how much he seems to be thinking about it, lost in his own world. You’re not even sure he remembers you’re there.

“Vincent was really determined to help her, although his brother Theo disapproved. His parents did too.”

“Isn’t that what love is? To hold someone’s hand even if everyone tells you to let go,” he mutters quietly, his eyes still lost in the painting. A hue of vulnerability colors his words before he clears his throat, as if unwittingly revealing his inner thoughts.

“That’s a beautiful way to view it,” you smile, and he nods, shyly biting his lower lip. For some odd reason, his timidity stirs something unfamiliarly tender within your heart.

You walk over to the next set of paintings. “When Vincent moved to Paris, you can see how his style developed. He let go of the darker tones he used in his infamous ‘The Potato Eaters’ and began using lighter colors, like here,” you explain, pointing to ‘The Hill of Montmartre with Stone Quarry’.

“Do you think it’s because he was happier?” he suddenly asks, and you frown slightly. “Pardon?”

“The shift to lighter colors. ‘The Potato Eaters’ is so sorrowful and shrouded in darkness. ‘The Hill’ is much more colorful, lighter, you know?” His eyes glide to yours, a twinkle of curiosity glimmering in them.

“Vincent did flourish in Paris. For once, he was in the same city as his brother Theo, whom he loved dearly. But he was mainly influenced by modern art, which uses much lighter colors than his previous works. Art critics usually attribute this change in the influence of his contemporaries, such as—”

“But what do you think?” he interrupts softly, leaning against the wall, his arms crossed over his chest. His eyes are penetrating, and you find yourself lost in the seas of emotion they contain.

You quiet down, licking your lips tentatively. No one has ever asked for your opinion on these tours before.

“Well,” you begin slowly, “I think it’s possible. Being around his brother and other artists who embraced brighter palettes could have uplifted his spirit. But also, maybe the light colors were his way of reaching for happiness, even if he didn’t always feel it. Art often mirrors our hopes as much as our realities.”

Hyunjin listens intently, a thoughtful look on his face. “I agree,” he finally says, smiling sincerely. You don’t know why the sight of his grin renders your brain putty, like melted ice cream under the kind sunrays.

“His use of lighter colors continued when he moved to the south of France. He was delighted with the bright colors in Arles, painting orchards in blossom and workers gathering the harvest,” you explain, pointing to the respective paintings.

“That’s when he told his brother that he wanted to open a studio for fellow painters. He wrote in a letter the following: 'you always lose when you’re isolated.' He sent out many invitations, but only one painter agreed to come.”

“Paul Gauguin,” Hyunjin swiftly replies.

“Exactly. He was the first and last painter to move in with Vincent.”

“It seemed like the more he tried to escape loneliness, the more it found him,” Hyunjin muses, his eyes fixed on ‘Portrait of Gauguin’ by Vincent. The bright colors he asked you about earlier make you wonder if, beneath the spotlight, Hyunjin too feels lonely.

“Sometimes loneliness becomes a friend. You have to make room for it to allow other things to come in,” you say softly.

“It’s sad how nothing good came out of that roommate situation, though” he frowns, and you nod in agreement.

“Paul and Vincent were very different. They had a lot of eclectic views that often led to disagreements. I assume you know their most prominent one.”

“Yes, when Vincent cut off his ear.”

“Correct, he then wrapped it in newspaper and presented it to a prostitute in the nearby red-light district.”

“A prostitute…” Hyunjin muses, his thumb swiping slightly across his lower lip. “It seems like phantoms of his first love found him again. Even in his most disoriented state, he somehow remembered her.”

“You speak of love beautifully,” you suddenly say, before biting your tongue harshly, instantly regretting your words. But Hyunjin’s eyes seem to soften as he gazes at you, the warm light dancing across his pupils.

“It is a beautiful feeling.”

“Only to those who have beautiful souls,” you speak earnestly, and your words seem to morph into brushstrokes, painting the gallery in hues of red. Intimate, soft, too intimate all of the sudden.

“Vincent’s mental health rapidly declined, and he put himself back into the mental asylum,” you quickly clear your throat, though you can still feel Hyunjin’s eyes on you, not the painting. “Still, that’s when he created some of his most famous artworks, like ‘The Starry Night’. He was inspired by the view from the asylum’s window. It’s dominated by vivid yellow and blue, and the colors and paint seem to describe a world outside the artwork itself.”

“It’s breathtaking,” Hyunjin marvels, lost in the painting, leaning in until his nose almost brushes the canvas.

You suppress a giggle, but your laughter fades as you take in the mole right by his jaw, then the one by his neck. The delicateness of his face, the plumpness of his lips, and the curve of his lashes.

He’s beautiful. The painting could seep him in and he’d fit right in with the silver stars. Outshining them too, surely.

“I really liked the tour,” he smiles, nearly two hours of lazy strolls later. “Thank you.”

“Of course,” you grin back, grabbing his outstretched hand. His fingers wrap around yours slowly, deliberately, as if on a mission to ignite your nerve endings. To set your soul ablaze with his palm alone.

His hand holds yours for a few seconds longer than necessary. Your blush mirrors his when he finally lets go.

He quickly bows again, grabbing his bag from his manager, who was waiting by the door. He almost bumps into the handle on his way out, and you let out an endeared chuckle, your eyes lingering on his figure until he disappears into his black van.

You think you'll never see him again, two lines crossing serendipitously at one point, never to cross paths once more. The thought sends a pang of sorrow latching onto your heart, before you quickly brush it away.

But then you do see him again, the very following night, at that.

It is near nine p.m. when Martin exclaims suddenly, “Mr. Hwang!” and you freeze in your place, book guide in hand.

It has been exactly twenty-four hours since you last saw Hyunjin, but when his voice softly echoes through the art gallery, it feels like a lifelong ache finally soothed.

“Please, call me Hyunjin,” he says, shaking Martin’s hand, though his eyes quickly find yours. They stay on you, unmoving yet tender, like a cotton blanket draped over your being.

“How was the tour with Miss Yn?”

“Ah—“ his gaze finally drifts away from yours. “Yes, it was really nice. That's why I came again,” he explains, a touch sheepishly, and your quizzical eyes meet Martin’s.

“Hyunjin booked another private tour. He specifically requested you to be his guide,” Martin explains, and your eyes widen in shock. You don’t have time to reply because your manager quickly scurries away. “I’ll leave you two then. Have fun!”

You wait until Martin disappears into his office before turning to Hyunjin, who avoids your gaze, one hand deep in his pocket, moving side to side. You remain silent for a few moments, simply admiring the side of his face. You’ve always had a deep appreciation for art running through your veins, after all.

“Hi,” he finally says, his eyes quickly meeting yours. You can’t stop the smile that floods your face, coating every nook and cranny of your features.

“You came back,” you say with a breathy giggle.

“Mm,” he instantly grins. “I don’t know when I’ll be back in New York, so I wanted to truly memorize the art here.”

“When are you going home?” you ask as you take his bag again, your eyes taking in his outfit—a green cap this time, a knit vest over a white shirt, and a silver teddy bear necklace nestled perfectly against it. Pretty.

“Tomorrow. We had a tour stop here, and we’ll go back to Seoul now.”

“And you’ll be spending your final night in the city here?” you chuckle slightly, and he shrugs as if it’s the most obvious decision he ever had to make.

“Why not? I think it’s beautiful here.” though his eyes never move to look onto the paintings, gliding across your face instead.

“And I forgot to take pictures yesterday,” he quickly adds, pointing to the camera in his hands.

“I’ll help you then,” you offer, and he smiles so brightly that it renders you speechless, suddenly wondering if the first person who ever drew a portrait had a similar thought—that they saw a smile so beautiful they just needed to immortalize it.

Hyunjin is at ease before the camera. You can tell by the way he almost pretends the device isn’t there, his eyes fixed on the paintings, mere centimeters away from the canvas. He’s whisked away into another world. You see your love for art mirrored in his soul as well.

“Do you paint, by any chance?” you ask between pictures, and he nods.

“Whenever I have free time. And you?”

“I do. I can show you later, if you’d like.”

“I’ll hold you to that,” he says, pointing his finger at you, before looking directly into the camera this time. “I’ve been painting magnolias lately.”

“Really? Why magnolias specifically?”

“I read a poem about them. It said that when magnolias wither, they aren’t considered beautiful anymore. But that doesn’t mean they weren’t at one point. It really moved me.”

“You have to be very optimistic to view it that way,” you say as you finally hand him the camera, satisfied with your pictures. You are both standing in front of ‘Almond Blossom,’ the pastel colors drawing you in.

“Withering flowers mean that at one point they were in full bloom. Grief means that at one point you did love,” you muse. “It takes a lot of gentleness to find beauty in endings, to celebrate them as proof of what once was. Don’t you think so?”

You turn to look at him when the flash of a camera catches you off guard.

Hyunjin looks at your picture, a soft smile on his face. “You fit right in with the flowers,” he compliments, though it does not feel superfluous or bearing a hidden intent. It’s a simple observation he wished to share.

“Thank you,” you say quietly, a blush sprouting from your very veins. You quickly fix your posture, pointing to the painting. “I told you yesterday that Vincent painted this for his brother Theo, to celebrate his newborn, whom he named after Vincent.”

“Yes, I remember,” he nods, slinging the camera over his neck and taking a picture of the painting up close. “It seemed to bring Vincent a lot of solace in his final days.”

“I’ve been thinking about your question, whether Vincent was happy. I think he was hopeful more than anything. He had hoped his works would be recognized, he had hoped he wouldn’t be as lonely anymore. Sometimes hope keeps you going much more than happiness.”

“Because happiness will eventually wear off?”

“Right, it’s only natural. But hope… it’s like a flame that never goes out. It might flicker and dim, but it will still be there on your darkest nights.” You bite your lip slightly, your thumb digging into your palm.

“I hope you’ll always have hope in your life, Hyunjin. You’ve been my favorite person to talk about Vincent with,” you say sincerely, your eyes unwavering from his.

You imprint the way his gaze softens into your mind, the slight blush that powders his cheeks, the way his teeth peek behind his smile. You memorize his velvety voice in your mind, the way he accentuates certain letters and how it pulls at the strings of your heart when he says—“I’m very happy I met you, Yn.”

May is gone, and with it Hyunjin, and you think you are a fool for thinking of him as often as you do after only five hours in his presence. You don’t know why your mind is permeated with his essence. But why wouldn’t it be? is the better question. When he’s beautiful, truly, body and soul.

You feel slightly less foolish when a postcard is delivered to your exhibition on a sunny Saturday, one month later. It depicts the front entrance of the Museum of Modern Art in Seoul.

June 13.

“yn,

i saw Vincent’s works once again in this month’s exhibition. somehow they seem less beautiful without our conversations.

i hope you’re surrounded by art, too.

hyunjin.”

June 23.

“hyunjin,

i visited claude monet’s immersive exhibition, you have to visit it as well, once you’re back in new york.

i am still surrounded by art, as always. i don’t think i could ever part from it.

did you finish your magnolias? i hope you’re seeing beauty in them even after they wither.

yn.”

July 5.

“yn,

claude’s works are so different from vincent’s... don’t you think it's beautiful that they lived at the same time yet depicted their world so differently?

my magnolias are finished. i’ve been drawing scenes from your exhibition lately, the picture i took of you is particularly inspiring. i hope you don’t mind.

hyunjin.”

september 26.

“hyunjin,

leaves are falling all over new york. new beginnings are upon us. i hope this view of my window inspires you too.

i wish you happiness no matter the season.

yn.”

october 7.

“yn,

i just saw the first snow at dawn, it was such a pretty view! i’m happy i’m alive today.

i hope snow reaches you fast enough, too.

stay warm.

with love,

hyunjin.”

october 23.

“hyunjin,

i’ve always preferred spring, but snow brought me such a happy opportunity. i’m invited to an exhibition in seoul, next month!

i’ll enjoy it well and think of our conversations.

with love,

yn.”

october 5.

“yn,

the weather is beautiful in seoul lately. i’m happy you’ll be here to see it.

it is late at night, and the moon is shining brightly. i hope it’ll shine as brightly for you too, in new york.

with love,

yours.”

The click of your black heels against the marble floors echoes through the museum, a comforting sound as you stroll through the immersive Vincent exhibition; now gracing Seoul. The colors wash over you, reflecting off your skin, swirling around you until you feel as though you’re being drawn into the very heart of the paintings.

“Enjoying the art, Yn?” a voice like honey drips across your being. Your heart skips a beat, plummets to your knees and races back to its place once again. You feel an ache inside you unfold. memories of Hyunjin’s voice rewriting themselves, perfecting your recollection of his accent and the tender way in which he spoke your name.

“It’s beautiful,” you murmur, though you refuse to turn around and meet his eyes. Not yet. The scent of his rose perfume is enough to have your heart rattling against your ribcage— a bird wishing to escape its cage and deliver your love letter to its rightful owner.

“Isn’t it an amazing coincidence we met here? In Seoul, no less,” he says, his voice airy as he inches closer.

“I know you’re the one who invited me,” you giggle, finally turning to meet his gaze. His eyes widen slightly before morphing into crescents, as if lifted from Vincent’s Starry Night.

“How did you know? I thought I kept it a secret in our postcards,” he grins sheepishly.

“I kept pestering Mr. Martin about why the museum invited me specifically until he finally told me you were behind it.”

“Well,” he licks his lips, his eyes roaming over your face. “I admit, I missed you. I wanted to see you again. And I happen to be a major contributor to the museum.”

“Fancy,” you beam, before your grin morphs to something much softer, as you realize that you are away from your work, and that the Hyunjin of your postcards is finally before you.

“I missed you too. Show me around?”

“Am I your guide now?”

“Mm. I expect you to be an expert.”

“Oh, I am.”

Hyunjin speaks of the paintings as if it’s his first time seeing them, finding new things to admire, new details to point out to you. You find it hard to keep up, only because your eyes seem more interested in observing him. You’ll tell him later that you were right in thinking he’d make every painting more mesmerizing.

But for now, you stroll together, his hand brushing against yours every now and then. Before long, you’re far from the museum, walking into the chilly Seoul night, his jacket draped over your shoulders.

And you talk, you talk about every painting you’ve seen since his departure, the flowers you’ve picked, and the strawberry field you visited at the end of June. He shares stories of his favorite painters and his beloved dog, Kkami, whom he misses dearly. He speaks of the moon and how your postcards lessened his loneliness. You tell him you’ve kept every card by your bedside, the first and last thing you see each day.

Suddenly your pinky is entwined with his, your cheeks ache from how much you’ve spoken and laughed, your heart lighter than it had ever been.

“Thank you for walking me to my hotel,” you smile softly.

He nods, his thumb swiping across your palm tenderly. It’s only after a while that he speaks again. “I know you said that happiness wears off eventually. But right now, the happiness i feel… I think it will last me for the next four months, at least.”

“Just four months?” you tease, and he giggles, tipping his head back. You wish you had your paintbrushes, your camera, a simple pen, anything to commit his laugh into something tangible.

“For a long time,” he finally says, quietly, resigned. Tomorrow’s flight ticket makes your heart ache, all of the sudden.

“I… I’ll get going. Thank you for inviting me,” you smile, dropping his hand. You know it’ll hurt the more you hold it, the easier it’d be for you to remember the softness of his hand.

So you walk back, you’re near the hotel door, a hand suddenly wraps around your wrist, the security guards both discreetly look away.

“Yn,” Hyunjin turns you around, his eyes are as wide as the full moon hanging close to earth, listening in to your conversation.

“You didn’t- you didn’t show me your paintings.” he says a bit too quickly, desperately.

“What?” you ask, confused.

“Back in New York, you promised to show me your paintings. You didn’t.”

“You remember?”

Hyunjin's chest heaves in response, his warm palms cradle your cheeks, his eyes speak of a yearning you haven’t thought existed. When his lips crash upon yours, fervently, passionately, like the collision of all stars in Starry Night, you have your answer.

He remembered. He remembered as much as you.

Epilogue— seven months later.

“Now… next question,” Hyunjin grins as he takes out a folded paper from a glass jar, five sets of camera’s all pointed at him in the shooting set of Elle Korea.

“If you could feel only one emotion for the rest of your life, what would you choose?”

Hyunjin puts the paper down, adjusts the sleeves of his Versace blue silk shirt. He doesn’t need to think too much to answer— he already has his reply.

“Someone told me, a long time ago, that hope keeps you going longer than happiness. Because happiness wears off eventually. But hope doesn’t. hope is like a flickering flame, it surges and it dims, but it doesn’t go out, so I choose hope.” he smiles suddenly, eyes looking into those of the staff behind the camera.

“That got deep all of the sudden, right? Done worry, Stay, I have hope, happiness and love, all at once.”

He chuckles quietly, picking up the last piece of paper.

“Finally… who’s your favorite painter? Ah, easy, it’s Vincent Van Gogh.”

“What's your favorite painting by him?” the shooting director asks behind the camera, his eyes fixate on the lens. He knows his love will be watching.

“A woman with a child on her lap. It’s not very known, but… if you look into it closely, beautiful things might come into your life and change it forever.”

from left to right, Woman with a Child on her Lap, 1883 — Portrait of Gauguin, 1888— The Potato Eaters, 1885—The Hill of Montmartre with Stone Quarry, 1886— Almond Blossom, 1890— The Starry Night, 1889.

[hero-israel]

The independent bookstore preparing to open in my corner of the Boston area is sharing fundraisers for the idiot Columbia kids on Instagram. The fiber arts group I'm a member of sharing memes about those dirty zionists. The comic artist I support on Patreon is having a whole lot of fun with Holocaust inversion rhetoric. The roar is getting so loud in every single alt-y, arty, left-ish, intellectual scene. I rely on Jewish community, I seek out other Jews to share these interests. But it's impossible to ignore that these are becoming my only options. It's like we're being excommunicated.....from these communities that we've fucking bled for, for decades.

Yes. The institutions and norms of American progressive and artistic life were founded or led or strongly influenced by Jewish creativity and philanthropy, and we are increasingly being purged from them as Palestine settler-colonizes Every. Single. Issue. The 2015 movie "Selma" showed Martin Luther King Jr. meeting with white Christian religious leaders but erased all Jewish involvement, erased Rabbi Heschel. The arts, the museum world, the comics industry, even Hollywood... we built these movements and industries, and we're suddenly not good enough to be included anymore.

[haveyouheardthisband]

obscure bands and where to listen to them, part 2

Follow-up to [this post].

Here I'll go over five artists whose polls got an extremely low amount of "yes" votes, plug where you can listen to them, etc.

If you're a fan of one of these artists and I got anything wrong or you have anything to add, please send an ask!

Long post ahead.

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PALMSY

Genres: Indie Pop, Jangle Pop, Bedroom Pop 10 out of 2,375 voters have listened to them. (0.4%)

Self-described as such: "Bedroom songs from the Netherlands. Feel-good sunny energy, jangly indie pop and the breezy energy of pop-punk." Their website (in Dutch) says they're influenced by artists such as Bombay Bicycle Club, Darwin Deez, Little Comets, and The Wombats. Released one EP in 2017 and seems to have been inactive since, but two members went on to form the band Banji.

Apple Music Soundcloud Spotify YouTube (official) YouTube (auto-generated)

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Clay J Gladstone

Genres: Pop Punk, Punk Rock 12 out of 2,495 voters have listened to them. (0.5%)

Australian. "Emo punk outfit Clay J Gladstone was formed in 2020, comprised of current and former members of powerhouses Resist the Thought, Caulfield, and Buried in Verona." Released one album and some singles in 2021-2022, but they're still active and playing shows! Apparently one of their guitarists got his equipment stolen recently but they were able to fundraise enough money to replace it so yay :)

Apple Music Bandcamp Soundcloud Spotify YouTube (official) YouTube (auto-generated)

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Radiation 4

Genres: Avant-Garde Metal, Mathcore 10 out of 2,314 voters have listened to them. (0.4%)

Los Angeles-based experimental metal band that dressed in lab coats and glasses for their live performances. Their MySpace listed their influences as "Sleepytime Gorilla Museum, Tom Waits, Mr Bungle, Botch..the list goes on." (IMO, the vocals especially are VERY Mike Patton-ish.) Released an EP in 2001 and an album in 2003, then went on hiatus in 2007 (though the vocalist uploaded some of their stuff to Bandcamp in 2022-2023?) Here's a fairly recent interview with the vocalist.

Bandcamp Here are unofficial YouTube uploads of Radiation 4 (2001 EP) and Wonderland (2003 album), which aren't on the Bandcamp, or anywhere else that I can find. ...Also, I finally found a copy of the album art for Wonderland that isn't JPEG'd into oblivion.

-

LightGuides

Genres: Pop Rock, Indie Rock, Math Rock 4 out of 2,158 voters have listened to them. (0.2%)

Self-proclaimed "Glaswegian pop-punk samba legends" (they aren't really samba though...) previously known as We Hung Your Leader. According to their old website, their influences included Jimmy Eat World, Alexisonfire, Brand New, and The Get Up Kids. Released two "mini-albums" between 2010 and 2011, and ceased posting on social media around 2017. Here's an interview (from shortly before the release of their second album) if you want to know more!

Apple Music Soundcloud Spotify YouTube (official) YouTube (auto-generated)

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Tribraco

Genres: Jazz-Rock, Avant-Prog, Progressive Rock 12 out of 2,534 voters have listened to them. (0.5%)

Italian instrumental jazz-rock band, formed in Rome in 2004 initially as a trio but then grew to a quartet. Their MySpace listed such influences as John Zorn, Frank Zappa, Igor Stravinsky, and Fred Frith. Released two albums, one in 2008 and one in 2010. (...there's not much else I could find about them!)

Apple Music Spotify YouTube (official) YouTube (auto-generated)

[fishmech]

you really have to be fucking stupid to believe the nonsense about "Israel is waiting til big events to do big attacks"

First of all: they are committing massive murder constantly every day. Not even just since October but for decades.

Second: none of the big events people claim match up are things that actually hide that? You're just making stupid excuses to cover for countries that don't care anyway. About whole populations that have never cared about Palestinian suffering and Israeli crimes.

But most especially it's galling to see people try to claim the fucking met gala as a "big event" that would drown out war. The fucking local fundraising event that doesn't even get live TV or streaming coverage.

Because it's run by the Vogue fashion magazine by and for the fashion community in general, and to fund the Metropolitan Museum Of Arts' ongoing upkeep of fashion and clothing material exhibits in general, and to provide primary funding for the latest yearly fashion exhibition it immediately precedes.

It's something the vast majority of New Yorkers, let alone the vast majority of Americans, let alone the vast majority of the world doesn't care about. When you declare the stupid event as necessary to hide yet another daily Israeli crime, you're basically revealing you don't actually think of the reality of the ongoing genocide, or have any touch with your own national reality.

But hey the same people saying this shit didn't start pretending to care until 6 months ago. Could never be me, my rabbi grandfather taught us that what Israel was already doing was evil and we should support our Palestinian brothers and sisters and oppose further restrictions and encroachment on their land, lives, and existence. So I already was aware of this shit, of how zionism is at best harmful by accident and most of the time harmful on purpose by like 1999.

Just, when I see people convinced that their favorite little internet day must be a smokescreen for an attack it's like. How are you this unserious as a person? What went wrong with your perception of world events that you have to qanon your way into believing niche events are being used as cover? It's frankly treating real life genocide like it's part of a fucking ARG.

[copperbadge]

I've finally decided to stop waiting for my friends and my schedules to all line up, and take myself on vacation. You seem to be someone who travels on your own semi-frequently. Do you have tips and tricks on how to make it less awkward on your own, or does that just not bother you?

Ah, congratulations! I hope you enjoy your solo journeying.

I have to admit that I don't get a lot of awkwardness as a solo traveler, or if I do, I don't notice. I think to begin with, in general dudes get less side-eye about doing anything solitary. I didn't even consider that traveling alone was seen as strange until I was in my thirties, I think, and other people started remarking on it -- not in an awkward way, just like "Wow I wish I could do that." (You can!)

Not everyone is comfortable with it, admittedly, and I get that, like anything it's not for everyone. And there are legit safety concerns women face that men don't, although I think also those tend to get blown out of proportion by our culture -- like the peril is real, I'm not saying women don't face safety issues when traveling solo, but the dangers aren't as constant and immediate as people think.

I just really love solo travel, because I get to do exactly what I want, eat what I want, skip things I decide I don't want to do. I'm kind of a people pleaser (this may not be news) and I don't mind doing what other folks want to do but sometimes that can come at the expense of what I want to do, which simply isn't a concern when I travel by myself.

In my experience, which is admittedly not universal, I find that there isn't really much awkwardness from solo travel most of the time -- it's harder to, for example, be in an airport alone, because there's nobody to mind your bags if you need to hit the bathroom, nobody to ask if you need something you didn't think to pack. But it's not like I've ever gotten a weird look for going through airport security alone, or checking into a hotel room alone. I think it does help to remember that people who work in hospitality have seen it ALL, and a single person checking into a hotel room doesn't even register. Like, if you aren't getting drunk and pooping in the decorative planters in the lobby, you aren't making an impression. :D Tour guides are very used to single people taking tours, and for all the train conductor or flight attendant knows, you're traveling to wherever you're going to meet up with 15 of your closest friends. Half the time I've checked into hotel rooms alone, it's been for work and I'm meeting 5-10 colleagues, and I just happen to be the first person to arrive at the site.

The only time I ever encounter much awkwardness is in a cab/rideshare, or eating alone, and even with eating alone, like, I went out to eat on my own for probably a solid decade before anyone remarked that it was a weird thing to do. But I've never particularly gotten that from waitstaff; like, occasionally I'll get a "Just one?" or "Dining alone?" but that's not really awkward, to my mind. I felt a little weird about it in Europe but that wasn't because I was solo, it was because I didn't speak the language. I was fine with it in England.

For cabs or rideshares, and this is true not just when traveling but also when I'm traveling locally in Chicago, I tend to come up with a "cover story" ahead of time in case the driver is chatty. I rarely say anymore that I work in fundraising, because while it does shut some people up (they don't want to be asked for a donation) others will be like "Hey could you fundraise for me, I have this great idea for a nonprofit knitting alpaca-wool socks...for alpacas!" and I have to be like "That's not really how this works." Usually I say I'm an art historian because a) I can fake that pretty well in casual conversation and b) nobody knows what follow-up question to ask. Academia of any kind is a great cover if you are traveling, because you can say "I'm here on business with (local museum you are visiting as a tourist) but I signed an NDA, so I can't really talk about it" and you seem mysterious plus you add excitement to the driver's day. Are you a spy? An art thief? Are you about to discover a new Van Gogh? Are you consulting with the science museum about a Bigfoot specimen?

But yeah I think the most important thing to bear in mind is that nobody really looks at other people and thinks, "That's weird, why are they alone?" Like in an ordinary day, I don't ever see a person alone on the bus or in a shop or whatnot and think, "That's weird, why don't they have someone with them?" We do tend to think people are judging us, but honestly most people aren't even noticing us, let alone forming opinions. And if they are, I think it's a great comfort to know that especially when traveling...we will never see them again :D

Anyway, good luck! Remember, even if you did forget to pack something, as long as you have your phone, your wallet, your meds, and your keys, anything else can be acquired or lived without.