#pee dee arts

[salomeapologist]

*closes artstor in defeat*

[chorus-communities]

i love being a silly guy. ppl were vagueing me in ve maintags because a rant i made accidentally got maintagged. " meh meh meh i dont like this guy for criticising my fave webcomic" ok L this guy got featured on tumblr radar fr fanart of the Better webcomic suck my Balls

[happy10thousandyears]

Even though I feel really bad on not finishing any film for the past 2 years I'm working on the zine with my friends and my brax art (him in a dress) was doing numbers on Twitter so I guess it's not so bad???

[nerdieforpedro]

Nerdie! What's the best date a PP character could surprise you with?

Melly, I thought very deeply on this question. Pondering, plotting a bit maybe in my head of course.

Truthfully, I am a simple woman. A PP character popping up and asking me on a date is the surprise itself and they could tel me we're going to McDonald's and splitting a happy meal because they have a coupon and I'd still giggle like I won the lottery. 😆

Frankie Morales would be the one to convince me to get in a helicopter. Planes I'm fine in, those helicopters seem to shake and look scary, but I'd trust him. Wouldn't even make him do a pee test. I'd just need to check his pupils with my penlight though. We can have a drink after to calm my nerves.

Marcus Pike would take me to some restaurant where you actually need a proper date outfit and not scrubs or leggings. We would need to go shopping on our way there or knowing him, he'd bring me an outfit in my size (how did you know sir, I don't think that's a skill for art crime?) And I'd eat foods I can't pronounce, maybe they'd be a bit spicy, but it would still be fun because I'd be trying new foods with Marcus who is a foodie.

Joel Miller would take me on a picnic. Because it won't require much cooking. That's dangerous territory for Joel and I'm not trying to die Mr. Miller. Ham sandwiches, assortment of juices, water and soda, Pringles chips (because he knows those are the only ones I will eat) something chocolate (cake, candy, pudding, brownies, etc) but not peanuts in the chocolate. It's offensive to the chocolate. We can sit out in nature and just chill, chat and maybe, just maybe, he'll let me play with hair. Like a little. Just a little Joel!

Speaking of chill, a date with Dieter would start off with some edibles while we travel somewhere. Air boat ride, go-carts, drag brunch, somewhere you would not expect for a date but it would still be s fun. He would encourage me to 'relax' and try some of whatever is in his stash. Mushrooms? Pills? Music notes? A powder? Who knows? Clothes will come off not for sexual reasons, but because we're both hot because we're high, then we're wet because it was a bright idea to jump in a pool. Now we're soggy, go shopping for new clothes. I finally my own Dieter robe and pajama pants. He won't let me get a shirt though, insists I wear a glitter tank top with the word 'moist' on it because I lost a game of go fish. We end on karaoke (I enjoy karaoke if they have songs I like) and ramen. Huge bowel of ramen. Followed by ice cream. Lots of laughing and then we sleep in a pillow fort where we need to help each other up off the floor. Then it's time for some biofreeze, icy hot, tiger balm, lidocaine, something. I can rub it there Dee but we gotta shower first. I'm unsure if we did after the pool and I'm not okay with that, but I was high. So let's wash though, it's itchy in this fort. 😎

A date with Din would be include the RazorCrest, because I wanna go into space. I mean Din's going to have to tell me how to be safe in space, but I wanna go. I would also ask that he let me try his cape out so I can swish it around. Maybe I'll get a laugh out of him but either way, I'm going to make that cape flourish. I'd also ask him questions about Mandalorian culture so I can just listen to him explain stuff to me, his voice echoing in the ship. Hehe 🥰 Maybe he'll even let me hold his hand and touch the beskar, if I can ask without sounding completely crazy.

I don't know how a date with Javier Pena would go. I don't feel like I'm cool enough to hang with Javi. We might go to a club or a bar, somewhere you can dance. I also can't dance, so this maybe isn't the best idea, but a few drinks will make me think I'm a better dancer and we may have fun. 🤣

I also would not know how a date with Dave York would go either. He'd too busy with his...contracts, let's say. His would be the most surprising because he's likely to break in when I'm either writing, watching TV, taking a nap, playing a game or otherwise doing some not cool thing that I find highly enjoyable. We're going to someplace I can't mention and he may blindfold me so I don't know the way there. My sense of direction is pretty poor so there's really no need for that Dave. It's going to be a classy place similar to Marcus and he would need to get me an outfit for that too, but I think he's also going to put me to work as a distraction or helping out with a contract because I have fingerprints that read very poorly. (I needed to be fingerprinted 3 times for my nursing license to the point they said - 'meh, just forget it and keep and ear out from the state board.') Then he'll drop me at home and tell me until next time and give me my cut of the money. Best paying date ever. 🫡

Javi G and I are having a movie marathon at his place in Majorca. I have a passport and I can pack fairly quickly. May do a walk on the beach to get out of the house. Not leaving unless he lets me fluff his hair. I will fight him and pin him down. Which is a lot but that gorgeous mane is worth it. 🤭

My bad Melly, I went into some Dieter, Din and Dave brain rot here. 😚 Hopefully you giggled and I maybe answered your question.

[hadeschan]

item # K22B24

RARE Pla Thong Maha Larp, Luang Phor Jong, Wat Na Tang Nok, Pim Yai, Nua Thongdang. A large-size Wealth Fetching Gold Fish, a fold formed mint copper sheet in a form of a Pla Nai (fresh water carp or common carp), with bas-relieves of wealth fetching cabalistic writings, Yant “Na” on the fish scales, Yant “Na Cha Li Ti”,  and Thai text says “Luang Phor Jong” on fish operculum, and 2 sides are quite identical. Made for hanging in the shop, store, and business premise, made by Luang Phor Jong of Wat Na Tang Nok, Phra Nakhon Si Ayutthaya Province before BE 2508 (CE 1965).

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BEST FOR: Wealth & Prosperity, Metta Maha Niyom (it helps bring loving, caring, and kindness, and compassion from people all around you to you), Maha Larp (it brings Lucky Wealth / wealth fetching), and Kaa Kaai Dee (it helps tempt your customers to buy whatever you are selling, and it helps attract new customers and then keep them coming back. Driving away theft, and Home Invasion Robbery, and it makes your home fire-resistance. It gives favorable omens, and strengthens auspicious omens which bring positive role in your life. It has a tendency to draw positive energy. Gambang (it makes you invisible in the eyes of your enemies, and people with bad intentions). And Ponggan Poot-pee pee-saat Kunsai Mondam Sa-niat jan-rai Sat Meepit (helping ward off evil spirit, demon, bad ghost, bad omen, bad spell, curse, accursedness, black magic, misfortune, doom, and poisonous animals).

…………………………………………

Yant Na

Yant Na is the only the single ancient Khmer character, the most powerful cabalistic writing that has Buddhakhun krôp jàk-grà-waan which means“ all the best for everything”. Yant Na provides protection against all danger, bad luck, misery, misfortune, unknown force, black magic, evil spirits, bad ghost, bad omens, and curses.. The power of this Yant Na, you can do anything you wish to do, have anything you wish to have, be anything you wish to be. Wealth fetching, and Metta Maha Niyom (it helps bring loving, caring, and kindness, and compassion from people all around you to you).

…………………………………………

Yant Na Cha Li Ti

The Na Cha Li Ti cabalistic writing is a Khata (prayer) of “Huajai Pra Sivali” in Thai means “the Heart of Pra Sivali Prayer”, and Na Cha Li Ti is a short form of “Nachaliti Chalitina Littinacha Tinachali”, a prayer that brings wealth & prosperity, stable income, success in business, and new business opportunities.

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Arahant or Arhat

In Buddhism, an arhat (Sanskrit) or arahant (Pali) is one who has gained insight into the true nature of existence and has achieved nirvana. Mahayana Buddhist traditions have used the term for people far advanced along the path of Enlightenment, but who may not have reached full Buddhahood.

The understanding of the concept has changed over the centuries, and varies between different schools of Buddhism and different regions. A range of views on the attainment of arhats existed in the early Buddhist schools. The Sarvāstivāda, Kāśyapīya, Mahāsāṃghika, Ekavyāvahārika, Lokottaravāda, Bahuśrutīya, Prajñaptivāda, and Caitika schools all regarded arhats as imperfect in their attainments compared to buddhas.

Mahayana Buddhist teachings urge followers to take up the path of a bodhisattva, and to not fall back to the level of arhats and śrāvakas. The arhats, or at least the senior arhats, came to be widely regarded by Theravada buddhists as "moving beyond the state of personal freedom to join the Bodhisattva enterprise in their own way".

Mahayana Buddhism regarded a group of Eighteen Arhats (with names and personalities) as awaiting the return of the Buddha as Maitreya, while other groupings of 6, 8, 16, 100, and 500 also appear in tradition and Buddhist art, especially in East Asia called luohan or lohan. They may be seen as the Buddhist equivalents of the Christian saint, apostles or early disciples and leaders of the faith.

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DIMENSION: 6.50 cm long / 3.00 cm wide / 0.40 cm thick

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item # K22B24

Price: price upon request, pls PM and/or email us hadesamulet@outlook.com

100% GENUINE WITH 365 DAYS FULL REFUND WARRANTY

Item location: Hong Kong, SAR

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[cyanidetooth]

Alien! Casual Affairs! Sukursaal! Burn The Blankets! Qua Dance! Hysteria! Parade Ground! Vils! Pact Of Innocence! Crime Of The Kitchen! Rot Guts! The Megastars! Sanity Commission! Mensen Blaffen! Shadowland! Secret Life! Flue! The Corridor Des Affaires! Bernthöler! Neon! Life's Small Victories! Just So Stories! W.A.T.! Pee Dee! Basic Scream! Lattice Work! Lenin' Shipyard! The Lost! Incredible Coöp! Corneil Nies! Chant! Dirty Time! Witchnail Wolf! Primitive Art! Syntax Error! Organized Pleasure! Chow-Chow! Exotic Pets Erotica! The Quasars!

[americangrove]

Landscape in Layers: Town Creek

I

“You know it is a felony to have these,” the site manager said to the young man who had just come in and asked to speak with him. He had taken three projectile points from out of his pockets, which he had earlier taken out from a nearby public stream. “Well…I…ummm,” he was surprised by his transgression. The legal lesson given and (perhaps) accepted (“I won’t do that again”) the manager then gave a historical one. Glancing at the artifacts (now in his hands) one of the points caused a slight peak in his otherwise unvarying tone. It was a “fluted pointed” something that was “several thousand years old.” The young man was surprised again—to think that sifting through a stream could bring up a stone tool that perhaps bought down some ancient animal at the edge of the last Ice Age. 

Though earshot gave me the whole conversation, I was not close enough for eyesight to see the details of what was held; they were on the ticket-counter and gift shop side of Town Creek Indian Mound’s visitor center, and I was on the other side with the history exhibition. What my eyes could see in detail though was a display titled “Stratigraphy: the study of soil layers”. Tonally it looked like a work of abstract art from the fifties or sixties—wide tides of browns in general descent from light to dark, excepting the second layer, tonally lighter than the level above and spatially intruding, not unlike a projectile point, into the ribs of the darker soils beneath it. Captions explained that each layer was once surface upon which someone or something left its trace: the vitreous refuse of a 19th century farmhouse was uppermost, beneath that, the remnants of inhabitants from 1450-1650 AD who left their trace not only in small things long forgotten but structurally as well since the reason that layer intrudes into the next two down is because of the depth of a post, which though just about a foot deep in length proves to be well over a millennia long in time as the lowest layer which it lodges into (after breaching a seam of silt deposited by a river) holds fragments from as far back as 1000B.C.

Looking at the display—typical of the kind of the soil layers beneath Town Creek though not an actual sample of it— the ground and its supposed solidity suddenly seemed like a tower of loose papers forming an upright archive, as if it was to be organized within a filing cabinet that opens vertically, and though orderly arranged, is also subject to strange rules of retrieval and recollection for by an ordinary logic one might assume something like the young man’s fluted point would have been confined yards below other layers, accessible only by dredge or delve and yet it was much closer to the surface than the latest fiber optic lines (of which I wonder if there will ever come a time when it is a felony to remove these after they become historic artifacts). But the strangeness of retrieval is perhaps the norm when it comes to landscape and the many past landscapes underneath any of the present; every kind of ground upon which landscapes are made is peculiar—potentially covered, uncovered, and recovered (in both senses of the word) by so many acts intentional and otherwise.

II

Though the soil tells of others proceeding them there, for over two centuries—the twelfth to sometime in the fourteenth—the Pee Dee people made Town Creek a place of daily living, a place of ceremony and a place of remembrance. Pee Dee culture was part of a regional culture called South Appalachian Mississippian, itself related to general Mississippian culture which originated from the valleys of the eponymous river and spread east, down to Florida up to Ohio and to central North Carolina where Town Creek was at the seeming limit of Mississippian reach. Though not linked by language, one recurrence among people who adopted or assimilated into Mississippian culture was the making of platform mounds, raised earthen structures, stairs leading to their level tops upon which one might enter into a chief’s house, a temple, a meeting house, or charnel house among other possibilities, sometimes two or more functions combined into one place. Why and exactly when the Pee Dee left Town Creek seems to be without definitive answer, but the site did not sit abandoned, as the pottery record tells of other Native Americans inhabiting the place until at least the 18th century, when the lands around Town Creek entered European claims of ownership—in 1746 it was included in a five-hundred-acre deed to a Robert Mills by King George II.[1] By then many of the wattle and daub structures and the timber palisades had probably long sunk back into the ground, but the mound endured—mention of it made in 19th century letters and historical asides, and pictures of it made in the early 20th century, especially from the late 1930s onward as the lingering landform lured looters to it, leading its owner mull over solutions. One retelling of the story goes:

a farmer named L.D. Frutchey had to plow around a pesky hill — a mound — on his land bordering the Little River in southwestern Montgomery County. Whenever he tilled, artifact seekers came calling, crawling over the newly turned ground, looking for arrowheads and other relics. On one occasion, several men with a pair of mules and a scraping implement worked for two days; they leveled the eastern side of the mound in search of Indian treasures.

Tired of trespassers, Frutchey contemplated leveling the entire mound and moving the soil to places that needed filling in. State officials learned of his plans, though, and they visited to lobby for professional excavation of the mound. They even suggested that the nuisance in his field might need to be preserved for posterity. Frutchey didn’t believe the mound’s value, but he agreed to donate it, and a little more than an acre of land, to the state in 1937.[2]

Elsewhere it is said that his disbelief in mound’s value was so certain that he waited a couple of weeks to record his deed after signing it in March so that the date would “coincide with April Fool’s Day, perhaps expressing his opinion of the whole affair.”[3] But at least he did value the mound, or at least his time, (or his property rights against trespassers) enough so that it persisted while in his possession. Other mounds, such as the one at Kituwah, were not so fortunate, steadily eroded by time and plow, wind and harvest. But the Town Creek mound was mostly right there, a literal aporia in straight paths of a field, which also must also have seemed like a logical aporia as well given what is usually expected when the past impedes the progress (and profits) of the present. 

         The deed stipulated that if nothing valuable was discovered that the land would revert back to Frutchey, so excavation started promptly once the WPA labor arrived. The 1.1 acre island amidst the tidy waves of ag-fields steadily yielded what it had long kept: fragments, whole objects and the remains of the dead which had been buried within it. The still worked fields kept presenting things too as a tenant farmer’s mule stepped into a pot while tilling, while the pieces of yet other things rose up from out the access road. It was as if the former landscape was making offerings through the present one in exchange for its preservation. And those who held, cleaned and catalogued these offerings wanted to complete the exchange.  In 1941 a memorandum was sent to Raleigh by J.S. Holmes, State Forester, and the leader of the delegation that had first approached Frutchey—[4]

More of the land needed to be saved—even if that meant having to take it. But Frutchey’s failed reply was due less to continued indifference than to illness. He vistied Holmes when he was better, they talked prices, his high, Holmes’s low, the difference between a space for negotiation. At its end the memorandum notes the site is no longer solely of interest to scholars but that 

Part farm and part worksite, the mound also had to become part park and part museum for the interested public. In the 1940s, what they saw would seem to not have looked like much compared to other state parks.In the Pictorial Review of North Carolina State Parks (1942), one passes pictures of pristine lakes and rugged mountains, picnic areas under the shade of planted longleaf pines, fresh places for “Colored patrons” and fresh places, by implication, for everyone else, but all such niceties are in other state parks; at Town Creek (which was called Frutchey Mound until about 1941) the site seems like a forlorn trove of soil dressed in a vesture of volunteer weed all lost in a cotton field. Yet of the 1699 people who had visited in 1940, from as far as New York, Texas and even from Havana, of the few who left comments in the register, most were pleased, not many disappointed. Even more interesting than the binary good or bad tabulations were the prescriptive and prospective ones: “Make it more interesting”, “May be become interesting”, “Will become important”.

Despite expectations, the site remained the same size for over ten years. Frutchey said he had other offers at better prices, but he also agreed to wait to see what offer the state would give, but neither side acted, not until 1950, when Frutchey was dead. Writing to the State Parks Superintendent on April 2, 1950, Barton Wright, junior curator at the mound’s museum found the site in a “situation…changed somewhat”:  

In less than three months the farmland would become part of the site, as would another tract soon after; work expanded duly both by the careful pass of brush and trowel, but also by the diesel powered push of a bulldozer supplanting the furrows of the field-prior with its grousers, both kinds of digging undoing evidence of one history to uncover another which, as the work progressed, yielded even more of the place past, its artifacts, structures, and its people. 

The ground gave up so much of what it had saved that it became possible to plausibly reconstruct five structures—a minor temple, a mortuary, another hill atop the mound, the mound itself (refilled), and a palisade around the perimeter. Posts of a new village were being put directly into the postholes of the original village, it was as if a whole stratigraphic layer, instead of being compressed deeper into the earth was being raised out of it, a landscape reappearing, one neither new nor old. “Unusual” someone had called the site in the 1940 tabulations before reconstruction began and perhaps the same could be said of it after its reconstruction, for the past does not usually “repeat itself”.

III

When I stepped out of the Visitor Center, tiles gave way to low cut grass, bordered by tall uncut grasses like wire grass, switch grass and blue stem in which sweet gums occasionally rooted where they were not out shaded by the pines through whose scaly limbs I could see the mound and its temple. The palisades were not guarded though the posts themselves, bare of clay during my visit, seemed watchful. I went into the burial hut first, initially seeing nothing for it was so bright outside in the full sun of summertime that instead of adjusting to the dark of the room my eyes seemed to cease seeing altogether. But slowly they opened to behold a burial scene in-diorama, a child being lowered into an urn, as the Pee-Dee did for children and babies.

“As a guest to this burial ritual, we ask that you view this scene with respect” a descriptive card read. 

“Respect”—the connotation of the word is morally abstract, less a thing and more a quality we impart to others and hope is imparted back to us, but etymologically it is rather physical respicere to “look back at”, eyes directed towards something again because now that something requires something more than just a passing glance. And so, I looked back in my memory to one of the excavation photographs I had seen in the Visitor Center. The day it was taken must have been like the day of my visit—hot, bright, and summery. Two young boys, both shirtless, both barefoot, dig into the ground, a shading tarp above them, yet still you can see the glaze of sweat on their backs, but what you cannot see is what they unearth, the censorship not imposed from within the photograph, but on top of it, two pieces of tape placed over the glass frame. The tape makes you respect (look back at) the picture in order to make you respect (honor) the picture, layering it with a double meaning to match its doubled surface as we look at the living uncover the dead and as we look at how we cannot look at them—at least in this photo. 

Go through the archival records though and you will find that the tape is not there and that without it the respect seems to be absent too. Of two early postcards of the place, one was a broad view of the landscape in excavation, and the other was a “Typical Indian Burial”, a close up of an uncovered skeleton, buried in a bundled position; the hands positioned as if to cover their face in anticipation of photography. “I think that these are very good and should prove popular with visitors to the area” the State Superintendent wrote, probably correct—we do like to uncover someone else’s past while often burying our own.

 In another picture where you can see the burial remains [cropped here], a young lady, trowel under her penny loafer and trowel in her right hand reaches the tip of her instrument down, gingerly lifting soil from under the bones, these also in a bundled position or, as Wade Lucas from the State Department of Conservation and Development Information Office, described in a 1953 memo “a rather grotesque cramped position with knees under chin”. His disrespect exists alongside the young lady’s regard, the two forming boundaries not so much mutually exclusive as much as the upper and lower parts of a layer of sentiment in which  of us most fall in the middle, for the burial practice is unusual from what most of us know or imagine, but at the same time this strangeness need not forsake deference. Spectatorship has its own stratigraphy as well.

IV

Across from the burial hut is the minor temple, an interior palisade guards its length save for one opening that allows passage. The door is quite low, so much so that I thought this meant it was not to be entered, but after ducking under, the room inside is quite ample. Two walls were only wattle no daub so that the greens of the outside glowed between the wooden slats. The walls that were daubed smelled of hot, clean, clay. Above, the roof was open in the center, a smoke hole that let a square of sun stream down to sit upon a bench. I took a moment to sit beside it. There were benches on all sides of the room—I could imagine people sitting here and people talking here but what kind of people and talking about what I was unsure. It is very easy to imagine how life went on even in the ruins (let alone the reconstructions) of most buildings of Europeans and their descendants in the 19th century, and probably for many centuries before this. Of course, assumptions are probably made unconsciously from our present interiors that feel right to us but in fact were historically impossible until recently—indoor plumbing, attached kitchens, closets—and yet, even when the error is revealed, we can still take for granted that there is some sense of continuity between our (“western”) life and (“western”) life past so that when we see unpeopled photographs of architecture we can easy project life and people it. That does not quite work at Town Creek. The stage is set wonderfully, but how these spaces were lived, at least to me, is not intelligible. Life happened here in a way that looks beautiful, and rhymical, but I wonder what sink and stove and shelves my imagination is unknowingly smuggling into my experience, and what struggles and shortcomings of the space I am as yet aware of.

I stood up from the bench and left the temple. Outside, I saw a young couple looking at it from a distance as they were also unsure about whether to enter and indeed they were about to walk away until I told them they had to go inside (later, when I saw them again, they thanked me).  I continued over to the main temple ascending the mound. Thick earthen walls, dark interior, thatch overhanging like hair, the threshold felt corporeal. Upon entering there is a confrontation. A blood red deer headed deity dances grievously with a stark white wolf headed deity whose teeth and eyes are stained as red as his opponents. They both hold things, weapons perhaps, though neither yet strikes the other. Past them and into the room, creatures, animal in head and body, peer from every wall painted in the same reds and whites as the doorway deities. Another square of sun comes down into this temple from its smoke hole, but here light feels overshadowed by the darkness of the space whose walls are complete and roof barely permeable to the day. Wood lays in the center for a fire that goes unlit, illuminating nothing. As I stepped out, I walked around the temple as a group of five walked up and entered. Whatever language the Pee Dee spoke has been completely lost to record, yet from inside I heard as they began to make “Indian sounds”— howls, hoots and yelps that have only ever gained coherence as invectives against the gunshots of John Wayne . Still their indiscretion pointed up the inadequacy which I had felt in the minor temple—the ground saves so much, but still so much more, such as the acoustic life of a people, is not stored in the soil, sound waves do not await a careful brush or pick to salvage them back up to hear. 

But loss is not simply loss in all cases, for while absence can be left alone it can also be worked with and added to making what we do not know sensible. At the back of the temple, above its false door, I contemplated its roof, which unlike the other two (that are in slight states of disrepair), does not readily show that under its thatch layer is added an aluminum layer, just as behind its wall is a metal mesh aiding the wattle in holding the daub of earth colored concrete.  There is a line of thinking and a way of looking that sees these half-hidden and somewhat masked modern materials underneath the façade of a supposed fourteenth century form as falsifying (coverings upon an absent knowledge); but there is also an alternative that sees these as additive moments, a literal addition in the structure, but also an additional layer in the history of the place, as past and present fold into each other not so much to recreate the conditions of the past, as much as to allow an opportunity to reconsider the conditions that go into making the present. But what does that mean?

V

Go back to 1950 when Mark Frutchey was planting corn in the family field at the same time as Barton Wright was preforming fieldwork in the same spot; their intrusion upon each other was like trying to figure out how to put a layer of aluminum under a layer of thatch, the methods of one way of living in the land converging with another—their ability to mingle not completely cordial, after all, as Wright the curator had said of Frutchey the farmer, “I believe that he is attempting to be as compatible as it is possible, however, growing crops and archeology are somewhat mutually exclusive.” His words suggest two kinds of landscapes meeting in 1950 but failing to make a coherent image in their shared frame—they both see the same land, but one sees it as a productive way to continue making a living while the other sees it as a productive way to recover knowledge of a lost way of life. But really there were at least four kinds of landscapes meeting in that 1950 letter. Mark Frutchey did not own the land he farmed; after his father’s death it passed to his older brother Llyod D. Frutchey Jr. who did not live in Mt. Gilead as a farmer but in South Carolina as a doctor. Like other sons of small towns after the second World War he found opportunities outside the ag field. While he left home to pursue a profession other sons and daughters of Mt. Gilead could stay nearby but instead of working at planting they went to work in plants—one of the five sock plants, the shoe factory, the mill or in one of the other industries opening up in the town. A post-war landscape of labor was emerging that offered an attractive alternative to the agrarian one that preexisted it. Likewise the academic view with which Barton Wright framed his work at Town Creek, was coupled with a corollary landscape to the new one of labor, which was a new landscape of leisure—people with free time and vacation who neither wanted to produce crops nor produce knowledge in the fields of Town Creek but instead desired to enjoy the fruits of a place made  “more interesting” as the tubulations demanded in the 1940s. Anticipating the impact of reconstructing Pee Dee style buildings at Town Creek, a report from the 50s noted that once all was completed: 

         In 1950 then, just before more of the property was bought, and just before reconstructions began, Town Creek was an active farm and a holdout against industrial forms of labor, it was a scholarly site and increasingly a public venue—it was in short a stratigraphy of 20th century social landscapes each of which had an impact on the living landscape and also the way in which the landscape six centuries prior would be represented again long after its passing. The impact of these four landscapes upon that of the past could be thought of variously as destructive, intrusive and insensitive, but as with the aluminum under the thatch, they can be thought of as additive as well. That it was a farm added a degree seasonal ebb and flow to the place that generally preserved it (or at least consumed it slowly), that it became an inherited and saleable property added a possibility of transferability to the land, that it was a field site added archeological knowledge, and that it was (and is) a tourist destination adds people who can now talk about it, visit it, defend it. Similar to the aluminum, none of these additions are readily visible (save the latter); they lay under the experience of landscape when landscape is understood primary as a noun, but they also operate as landscape not in the sense of a something done (e.g. a landscape painting), but something being made, landscaping—in a material and metaphoric sense—the past in order to make it visible in the present again.

VI

I walked back down the earthen ramp and toward the other opening in the palisade leading out to the path that goes near the Little River of which Big Town Creek drains into; a wooded trail starts there and leads back around to the parking lot. Stiltgrass, loblolly pine, and two stakes that would seem to hold up a sign that was missing spoke to changes in the woods though it was a quiet speaking compared to what has happened at the primary part of the site.[5] About halfway through my walk I saw a windthrown tree, not snapped but uprooted. An immense disk of earth remained gathered in the fingers of the roots and beneath it was a corresponding hole, filled with water as if an ephemeral pond. To repair an uprooted tree seems straightforward as if it should be just a matter of picking it up and putting it back in the spot to which it clearly fits, but a tree’s life spreads so much further out and down than even an exposed root ball suggests. It could never take hold to support itself again—its success in rooting in place and growing so large conversely ensures its inability to be re-righted and re-rooted once displaced. Instead, what will happen in the time to come is that the hole will fill slowly until it is a shallow depression, the trunk will, piece by piece decay until it is almost imperceptible and the root ball, now jagged and geometric like a surprised star, will smooth over and round out. The windthrown tree will create what is called a pit and mound topography, a mound made differently than the one the Pee Dee made, but a mound that similar to theirs will become a special site in the land—risen about the ground it will drier and warmer, less covered by leaf litter it will be sunnier and because of that it will be a prized place for many new plants to congregate and make an attempt at rooting, rising, residing, making the next layer of life at once indebted to and oblivious to what grounds it.

[1] Historical information about the site here and throughout this essay comes from: Coe, Joffre Lanning. Town Creek Indian Mound: A Native American Legacy. Chapel Hill: University of North Carolina Press, 1995.

[2] See: Staff, Our State. “Mount Gilead.” Our State, 18 Aug. 2011, https://www.ourstate.com/mount-gilead/.

[3] See: Coe, Joffre Lanning. Town Creek Indian Mound, p.12.

[4] All archival documents excerpted here can be found in the North Carolina Digital Collections, specified by place to “Town Creek Indian Mound State Historic Site, Montgomery County, North Carolina, United States” accessible here: https://digital.ncdcr.gov/documents?search=town%20creek%20indian%20mound&searchtypes=Metadata|Full%20text&filter_6=Town%20Creek%20Indian%20Mound%20State%20Historic%20Site%2C%20Montgomery%20County%2C%20North%20Carolina%2C%20United%20States&applyState=true

[5] The loblolly was probably planted for timber, the stiltgrass is an invasive, the sign is an enigma.

Images:

All color images are authors. 

All archival images can be found by in the digitized archives listed in note 5.

The three exceptions are the image of the roof being thatched, the image of the completed reconstructions and the cross-section of the roof and wall of the temple. These can be found in: South, Stanley. The Temple at Town Creek Indian Mound State Historic Site, North Carolina. Notebook, Volume 5, Issue 5, 1973, pages 145-171. accessible at: https://scholarcommons.sc.edu/sciaa_staffpub/40/

[finishinglinepress]

FLP POETRY BOOK OF THE DAY: A Book of Bothersome Cats by Janet Kozachek

ADVANCE ORDER: https://www.finishinglinepress.com/product/a-book-of-bothersome-cats-by-janet-kozachek/

Janet Kozachek is an internationally trained and exhibited artist. She holds a Master of Fine Arts Degree in painting and drawing from Parsons School of Design in New York and a Certificate of graduate study from the Central Academy of Fine Art in Beijing (CAFA). She is the author of The Book of Marvelous Cats, My Women My Monsters, and A Rendering of Soliloquies – Figures Painted in Spots of Time.

PRAISE FOR A Book of Bothersome Cats by Janet Kozachek

“Janet Kozachek dares us to underestimate her. Light verse? Anthropomorphic cats? Listen and look deeply into this beautiful book for all the layers the author has laid for us like gentle surprises.Tucked into corners and borders, the delight lies in the details: Procrastinator Cat’s bedside reading; Bully Cat’s elaborate jacket; the Guru Cat sitting on a rattlesnake; a cigar held in the paw of the floofy Fat Cat; suggestive portraits on Proper Cat’s dining room wall; and my favorite, the marvelous, coiling tunnel to the rabbit underground of Conspiracy Cat.The author sets an expectation for twists at the turn of every page. As a polymath and multi-artist, Kozachek has way too much understanding and artistic ammunition to take her magnificently annoying array of cats less seriously. Her book has both softness and claws, and her wry, rhyming wit also holds compassion for human folly.

In the tradition of Eliot and Lear, A Book of Bothersome Cats sent this pandemic reader laughing back to Stanley Kunitz’s more serious concerns. In our darkest days, he advised us, “Live in the layers, not on the litter.” Kozachek’s book howls quietly, with a big, silent grin and a twitching tail that does not go away.”

–William Epes, founder of the online arts resource group “strand line break,” host of the multi-arts, open mic series Tuesday Duets.

“Janet Kozachek’s A Book of Bothersome Cats, a sequel to her Book of Marvelous Cats, is playful and fun. Its rhymes and colorful feline characters make it seem suited to children, but the foibles and flaws the bothersome cats possess are decidedly adult maladies. Her illustrations, as always, are precise and intricate, inviting long study to encourage appreciation of every detail. Like all cats, the bothersome cats are complicated characters who are nevertheless endearing and well worth getting to know.”

–JoAngela Edwins, Ph.D. Professor of English, Francis Marion University. Poet Laureate of the Pee Dee Region of South Carolina. Author, Play. Winner of the SC Academy of Authors’ Carrie McCray Nickens Poetry Fellowship, Pushcart Prize.

Please share/please repost #flpauthor #preorder #AwesomeCoverArt #poetry #read #poetrybook #poems #cats

[jjackbox]

Um. Okay uh i dont write Too Much so this might include art depending on how much stuff i can free from my notes app

1. “Writing Scraps” - What it says on the tin .Literally all harrysport & mostly diverging options of The Roleplay™️ that wouldnt leave my head

2. “Seer Lore” - Idk if this one counts as a WIP but ill put it here anyway . Fuckass minecraft guy lore

3. “look away im tjinking. Im thinking” also known as “hi toxic hi flipside” - Was supposed to be harrysport sex but i gave up right before i got there 😔

4. “hghfjfhgj” - Aziraphale preening crowley . Comfort fic :)

5. “hfhfjhfg” - Crowley meeting aziraphale in eden

6. “hai. whats up.. whats up guys....(falls over” - Was supposed to be dave realizing henry is bad and getting way more silly than he did in canon but there are like 10 words in there

7. “UM. dayshit at feddys. um.” - dave being springlocked by henry that first time

8. “i am .” - jack losing dee and then getting its ass springlocked. Lol!

9. “tgis is society” - Was meant to be jack and dave doing SOMETHING I assume . also has like 10 words

10. “guys. guys. guys hear me out guys. guys. g” - I think i thouhgt too hard about when randy talked about tentacles Tgat. one time. Anyways,

11. “auggshagsurgahehsgrhag” - was supposed to be an among us au i wrote 0 word.

12. “im mentally ill go away” - Like the very beginning of davesport sex before i gave up

13. “ghg. pees a little” ???? - I think its davesport

14. “go away.. i have gay disease..” - I think its davesport again. Stuck in a closet together or something.

15. “do NOT look at this GO AWAY !!!!” - Guys..... I have a sneaking suspicion that its Davesport.

16. “i just want to wriye something” - Take a wild guess ... Jk it is dave and jack but its dsaf 3 evil end

A very large chunk of these are from like 2022 you must cut me some slack. My actual good ideas are the few Completed ones...

I dont know.Any other mutuals who write who havent already been tagged if u see this and fit the criteria You 🫵 can consider yourself tagged

WIP tag game - thanks @bossboudicca for the tag!

rules: make a new post with the names of all the files in your WIP folder, regardless of how non-descriptive or ridiculous. let people send you an ask with the title that most intrigues them, and then post a little snippet or tell them something about it! and then tag as many people as you have WIPs.

i'll just share some that i'm comfortable sharing publicly right now...

wherever your world is (chapter 2) - my tbb little mermaid au still in the works (chapter 2 coming very soon!!)

backstory 6 - this is literally the file name of one of the backstories for one character in my what if au

cadets./"you really think you're going without me? not going to happen." - the file name of my upcoming prompt fill for the summer of bad batch event

a day in the life of a sith - a qimir (the acolyte) fic being figured out bc he's a very intriguing character

jedi dance ritual - the current file name of a top secret fic

no pressure tags: @royallykt @locitawritingsblog @third-generation-female-warrior @lukascastelan @fritoley and anyone else who wants to do this!!

[hypnobugs]

would you listen to them

[thememack]

I’m taking a break from writing and figuring out what to do with my time is leading me to recreate my favorite boss fights from Sekiro.

[stendyle]

you know how you can kinda tell the fandom(s) ppl r in by their art style?? yeah.

[micmitblog]

Michael Mitchell  Hwy 151 (2020) Collage on Paper 10.5″ x 12″ micmitblog.tumblr.com

[r3dsunz]

hii everyone since ppl are ditching twitter to come back to tumblr i guess i should actually use this blog for once lmfao. will be posting art soon hopefully but for now you all can have my backlog from the last year or so

[hadeschan]

item # K22C17

RARE Pra Phanat-sa-bor-dee, Nua Din. An over 1200 years old baked clay Buddha amulet with figure of Buddha in “Pang Ham Samut” with his both hands raised in the characteristic "ocean-calming-gesture" (Skt. abhaja-mudra). And an art of Dvaravati style halo surrounding the head of Buddha or Prapa monthon or Rassami in Thai which refers to halo of Buddha has auras of the seven known rainbow colors around him. Buddha is standing on top of a winged mystical beast. Made in the period of Dvaravati, an ancient Mon Kingdom, a Buddhist kingdom named To-lo-po-ti situated to the west of Isanapura (Cambodia) and to the east of Sri Ksetra (Burma). This Batch of Pra Phanat-sa-bor-dee amulets said to be from an antique collector bought them from villagers in Chonburi, Phetchaburi, and Chai Nat Province who found the amulets while cultivating their lands for crops, and that antique collector offer all of his Pra Phanat-sa-bor-dee amulets to Luang Phu Suk of Wat Pak Khlong Makham Thao, Chai Nat to bless on. And later in BE 2462 (CE 1919), this Batch of Pra Phanat-sa-bor-dee amulets was offered to Pra Ratchamangglachan, the ex-abbot of Wat Saranat Thammaram, Rayong Province. And Wat Saranat Thammaram held 2 Consecration / Blessing Ceremonies in BE 2499 (CE 1956), attended by Pra Archan Fund Archaro of Wat Pa Udom Somphon, Luang Phor Lee of Wat Asokaram, Luang Phu Toh of Wat Pradu Chimphli, Luang Phor Sod of  Wat Paknam Phasi Charoen, Luang Phu Tim of Wat Lahan Rai, the Holy Mother (Khun Mae) Boonreuan Tohngboonterm of Wat Awutvikasitaram, and other guru monks of the period (READ MORE)…

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BEST FOR: Pra Phanat-sa-bor-dee stops all disasters continuing to exact a heavy toll on your live and livelihood, physically, mentally, and financially. The Prapa monthon or Rassami in Thai of Pra Phanat-sa-bor-dee, a halo of Buddha creates a strong energy shield, Levitation and produce destructive heat beams to melt or burn your enemies. Halo provides a measure of defense against dark energies, and blinds people with bad intentions. This amulet has a tendency to draw positive energy, Kongkraphan Chatrie (it makes you invulnerable to all weapon attack), Klawklad Plodpai (it brings safety, and pushes you away from all danger), Maha-ut (it stops gun from shooting at you), Metta Maha Niyom (it helps bring loving, caring, and kindness, and compassion from people all around you to you), Maha Larp (it brings Lucky Wealth / wealth fetching, prosperity), and Kaa Kaai Dee (it helps tempt your customers to buy whatever you are selling, and it helps attract new customers and then keep them coming back. Ponggan Poot-pee pee-saat Kunsai Mondam Sa-niat jan-rai Sat Meepit (it helps ward off evil spirit, demon, bad ghost, bad omen, bad spell, curse, accursedness, black magic, misfortune, doom, and poisonous animals). And this amulet helps protect you from manipulators, backstabbers, and toxic people.

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Pra Phanat-sa-bodi, a baked clay amulet dated to the dawn of Dvaravati Culture, 1200 years ago

In BE 2560 (CE 2017), a Batch of Pra Phanat-sa-bodi was found hidden in a Mondop, a specific square based building or shrine with a pyramidal roof (seemingly) carried by columns within a temple building of Wat Saranat Thammaram, Rayong Province. The story has it that a group of ancient amulet collectors collected Pra Phanat-sa-bodi amulets from the villagers who accidently found them in the fields that they cultivated for crops in the area of Chonburi, Phetchaburi, and Chai Nat Province. In BE 2460 (CE 1917), the antique collector took Pra Phanat-sa-bodi to Luang Phu Suk of Wat Pak Khlong Makham Thao, Chai Nat to bless on. And later in BE 2462 (CE 1919), Luang Phu Suk gave a Batch of Pra Phanat-sa-bodi to his looksit (disciples / followers /adherents/ worshippers / devotees) from Phetchaburi Province, and that looksit gave this Batch of Pra Phanat-sa-bodi to Pra Ratchamangglachan, the ex-abbot of Wat Saranat Thammaram, Rayong Province while and the Holy Mother (Khun Mae) Boonreuan Tohngboonterm of Wat Awut was staying at Wat Saranat Thammaram.

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The amulet made from soil or earth

The soil or earth is the oldest minerals on Earth, it accumulates all power of good deeds of all Arhats (or Luohan), Bodhisattva and Buddha as long as you and your enemies are standing/living on the earth, the Pra Mae Thoranee (the Earth Goddess) will witness good deeds and bad deeds, if you have made good deeds, then your good deeds have already witnessed by Pra Mae Thoranee, Pra Mae Thoranee will help you, and your enemies could not do any harm to you. And the difficulties of your life, Pra Mae Thoranee also witnesses, and Pra Mae Thoranee will ease all of your difficulties.

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Pang Ham Samut

A “Pang Ham Samut” with his both hands raised in the characteristic "ocean-calming-gesture" (Skt. abhaja-mudra). The gesture, also known as a hand-holding to calm the sea or waves, is traditionally associated with one of the Buddha's famous deeds, the stemming of the flood of the Neranyjara River.

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Dvaravati

Dvaravati was an ancient Mon political principality from the 6th century to the 11th century that was located in the region now known as central Thailand. It was described by Chinese pilgrims in the middle of the 7th century as a Buddhist kingdom named To-lo-po-ti situated to the west of Isanapura (Cambodia) and to the east of Sri Ksetra (Burma). Dvaravati also refers to a culture, an art style, and a disparate conglomeration of principalities of Mon people. Archaeological research over the past two decades or so has revealed the presence of a "Proto-Dvaravati" period which spans the 4th to 5th centuries, and perhaps earlier.

Dvaravati lost its importance after the rise of the Angkor in the lower Mekong basin around the 11th–13th centuries. In the 14th century, one of its main principalities, Si Thep, was almost left abandoned, while the remaining was split into the city-state confederation of Suphannabhumi in the west and the Lavo Kingdom in the east. However, a new kingdom, Ayutthaya, was subsequently founded southward on the bank of the Chao Phraya River in 1351, as the succeeded state,[1] as its capital's full name referred to the Kingdom of Dvaravati; Krung Thep Dvaravati Si Ayutthaya (Thai: กรุงเทพทวารวดีศรีอยุธยา). All former Dvaravati principalities, Lavo, the northern cities of the Sukhothai Kingdom, and Suphannabhumi, was later incorporated to the Ayutthaya Kingdom in 1388, 1438, and the mid-15 century, respectively.

According to an inscription on a bronze gun acquired by the Burmese in 1767, when Ayuthia, Siam's capital at the time, fell to an invading Burmese force, the Burmese still referred to Ayutthaya as Dvaravati. Several genetic studies published in the 2020s also founded the relations between the Mon people and Siamese people (Central Thai people) who were the descendants of the Ayutthaya.

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The BE 2499 (CE 1956) Batch of amulets of Wat Saranat Thammaram, Rayong Province

This Batch of amulets was made to commemorate the completion of the casting process of Pra Buddha Sopat Chinnaraj Jom Munee, the principle Buddha statue of Wat Saranat Thammaram, Rayong Province. The casting process was done at Wat Samphanthawong, Bangkok, then the statue was moved to Wat Saranat Thammaram to have the rituals.

The Holy Mother (Khun Mae) Boonreuan Tohngboonterm of Wat Awutvikasitaram (Wat Awut) was Master of all Ceremonies and Rituals. It was the first time in the history of Thailand that woman was allowed to make Batch of amulets and performed the rituals, and attended Consecration / Blessing Ceremonies together with guru monks.

The First Consecration / Blessing Ceremony was started on March 3, BE 2499 with non-stop 18 days and nights Consecration / Blessing Ceremony at the temple of Wat Samphanthawong attended by Pra Pa Sai Pra Archan Mun, the guru monks of the School of Pra Archan Mun Bhuridatta Thera,  the founder of the Thai Forest Tradition (the Kammaṭṭhāna Tradition).

1)Pra Archan Fund Archaro of Wat Pa Udom Somphon

2)Luang Phu Kaao Analyo of Wat Tham Klong Ple (Luang Pu Khao)

3)Luang Phu Dune Atulo of Wat Buraparam

4)Pra Archan One Uttamo of Wat Tham Apai Damrongtham

5)Luang Phor Lee of Wat Asokaram

And guru monks from the Mahā Nikāya, and the Dhammayuttika Nikaya, the 2 principal monastic orders of Thai Theravada Buddhism.

6)Luang Phu Toh of Wat Pradu Chimphli

7)Luang Phor Sod of  Wat Paknam Phasi Charoen

8)Luang Phor Ngern of Wat Don Yai Hom

9)Luang Phor Nor of Wat Klang Tha Ruea

10)Luang Phor Sod of Wat Pho Daeng Tai

11)Luang Phor Chang of Wat Ban Phang

12)Luang Phor Feuang of Wat Samphanthawong

13)Luang Phor Sa-aat of Wat Samphanthawong

14)Luang Phu Sing of Wat Pa Salwan

15)The Holy Mother (Khun Mae) Boonreuan Tohngboonterm of Wat Awutvikasitaram

And other guru monks

The Second Consecration / Blessing Ceremony was held at the temple of Saranat Thammaram, Rayong Province attended by

1)Luang Phor Toh of Wat Khao Bo Thong

2)Luang Phu Tim of Wat Lahan Rai

3)Luang Phu Hiang of Wat Aranyikawas (Wat Pa)

And other guru monks…

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The Holy Mother (Khun Mae) Boonreuan Tohngboonterm of Wat Awutvikasitaram, living between BE 2437 to BE 2507

The Holy Mother Boonreuan Tohngboonterm, born Boonreuan Glinphaka on March 4, BE 2437 at Khlong Sam Wa, Min Buri, Bangkok. Then the family moved to Bang Pakok, Rat Burana, Bangkok. At the age of 15, Boonreuan practiced Traditional Thai Massage Therapy from her grandfather, Archan Klin, the famous Traditional Thai Massage Therapist. At teen age, Boonreuan met her uncle, Luang Phor Príng of Wat Bang Pakok. Boonreuan visited Luang Phor Pring frequently, and learned Buddhism, Dharma, and Kammaṭṭhāna (Buddhist meditation) from Luang Phor Pring. At the late teen, Boonreuan married Pol.Cpl. Joi Tohngboonterm, an officer stationed at Samphanthawong Police Station, Bangkok. After few years of marriage, Joi ordained as Buddhist monk at Wat Samphanthawong for a year. Boonreuan visited her husband and practiced Kammaṭṭhāna at Wat Samphanthawong, and in BE 2470, Boonreuan became a nun there for 90 days. Before being a nun Boonreuan was a dress maker, and Traditional Thai Massage Therapist, Boonreuan did the therapy for free to people who suffered from musculoskeletal pain. Boonreuan quitted being a nun, left Wat Samphanthawong  and started work as Traditional Thai Massage Therapist, and Kammaṭṭhāna teacher. In BE 2479, at the age of 42, Boonreuan lost her husband, Joi while Joi was on duty to distinguish the fire at Talat Noi Market. Boonreuan then moved to Wat Awutvikasitaram (Wat Awut), Bang Phlat, Bangkok, and provided Traditional Thai Massage Therapist, Traditional Thai Medicine, and Kammaṭṭhāna training for free. It is believed that the Holy Mother Boonreuan Tohngboonterm was very active in her ministry of healing. She cured many people who suffered from chronic deceases, and musculoskeletal pain at no cost.

The Holy Mother Boonreuan Tohngboonterm practiced Kammaṭṭhāna (Buddhist meditation) ultimately through a succession of stages to the final goal of spiritual freedom, the pursuit of nirvana. The mind power of the Holy Mother Boonreuan Tohngboonterm was powerful, clean and clear. And the Holy Mother Boonreuan Tohngboonterm was the one and the only woman in the history of Thailand who was allowed/invited to attend Buddha amulets consecration/blessing Ceremonies to bless on the Batches of amulets. And the Holy Mother Boonreuan Tohngboonterm also made amulets for few temples for their fundraising. The Holy Mother Boonreuan Tohngboonterm passed away on September 7, BE 2507 at the age of 70 at Wat Awutvikasitaram.

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DIMENSION: 4.50 cm high / 1.50 cm wide / 0.50 cm thick

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item # K22C17

Price: price upon request, pls PM and/or email us hadesamulet@protonmail.com

100% GENUINE WITH 365 DAYS FULL REFUND WARRANTY

Item location: Hong Kong, SAR

Ships to: Worldwide

Delivery: Estimated 7 days handling time after receipt of cleared payment. Please allow additional time if international delivery is subject to customs processing.

Shipping: FREE Thailandpost International registered mail. International items may be subject to customs processing and additional charges.

Payments: PayPal / Western Union / MoneyGram /maybank2u.com / DBS iBanking / Wechat Pay / Alipay / Remitly

********************************

[weburlesque]

Powerful Absurdity w/ Remy Dee

Released: 10-17-2022 Recorded: 10-13-2022

listen: https://weburlesque.wordpress.com/2022/10/17/s6e179-powerful-absurdity-w-remy-dee/

Remy Dee has been playing professional dress-up as iconic characters from Captain Hook to Pee Wee Herman to Chucky all over the country, centralized in New Orleans and now Nashville, TN.  This magical weirdo talks the process, from deciding which characters she wishes to portray in cosplay and nerdlesque, and hoow; plus, what is the true form of Remy Dee. 

Instagram/Twitter: @remydee504

https://www.remydee504.com

— WEBurlesque Podcast Network is the creation of Viktor Devonne. Episode 179 call hook by Kiki Mustang. Podcast artwork by Logan Laveau, WEBurlesque the Podcast cover art photography by Atticus Stevenson. Theme song, “On a 45” by This Way to the Egress, used with permission. Incidental music via pixabay.com under fair use. Visit weburlesquepodcast.com for notes on this and every episode. Follow @weburlesque and @viktordevonne on just about every platform, and support the podcast via patreon.com/weburlesque or via Venmo @Viktor-Devonne. Don’t got the cash? Please follow, subscribe, and give 5 stars on every platform you can get your hands on. It really does help. All original material is owned by Viktor Devonne and White Elephant Burlesque Corporation; all other materials property of their respective copyright. No infringement, while likely, is intended.