#radlovers

[beecl0wn]

// SPOILERS FOR FIND US ALIVE (35-44)

Forgot to post this here uhm🤯

[hebby-arts]

YOU'RE THE WILDEST WIND YOU'RE THE HOME BENEATH THE RUIN SELF-LOATHING OR THE DARKEST DRUG WILL NEVER KEEP ME FROM LOVING YOU MAKE MY HEART SING EVERY TIME YOU BRUSH AGAINST ME MY WILDEST WIND COME MAKE ME SMILE AGAIN

Lyrics from: Wildest Wind by IAMX.

Tough's looking away from Radiance, not necessarily at the audience. But because of his eye patch, you can't quite see his true expression. He can't help but smile, he can't help but love Radiance, even though everything about them was wrong, unhealthy, painful.

They were awful to each other, and yet, they adored each other. it was constant pain, constant adoration. up and down and horrible. Awful. Terrible... Heavenly.

Radiance's death gouged out a significant part of Tough. Maybe even killed him, in many ways. No one quite understood him like Radiance did. Tough isn't a religious man, but he'll pray at Radiance's altar, without question.

[ okay to reblog, don't delete caption, don't repost! ]

[lv-bites]

    "I'm forgetting, Teddy."

"No, no you're not. You won't. You can't! I won't let you."

    "I can't stop it."

"Don't forget, don't. Pleassse."

[gorbigorbi]

Elizaveta Kokoreva as Juliet Capulet and Daniil Potaptsev as Romeo Montague, "Romeo and Juliet", choreography by Leonid Lavrovsky, music by Sergey Prokofiev, libretto by Adrian Piotrovsky, Sergey Prokofiev, Sergey Radlov and Leonid Lavrovsky, based on the romantic tragedy of the same name by William Shakespeare, costume by Tatyana Noginova, Bolshoi Ballet (Historic Stage), Moscow, Russia (April 4, 2024)

Photographer Damir Yusupov

[sovietpostcards]

“Short Stories In Pictures” by Nikolai Radlov (1937)

[thewitcheslibrary]

Erlik - mythology and information

Erlik, Erlig, Erlik Khan, Erleg or Yerleg (Hungarian mythology comparable to Ördög) is the deity of death and the underworld, also known as Tamag (hell) in Turkic mythology. Er (or yer) refers to Earth, the depths in which Erlik resides. Erlik summons death, plague, and bad spirits from the underworld to torture humanity and transport their souls to his domain. Tengrism is not founded on a written corpus, but rather on the spiritual experiences of Turkic people, hence there are no universally accepted doctrines among Turkic people. Erlik has previously been referenced in the Orkhon texts and has a persistent role as the lord of the underworld in Turkic belief systems.

Mythology-

In Turkic mythology, Erlik had a role in the genesis of humanity. He slew the messenger-god, Maidere/Maydere, and is a sin-teacher. He is sometimes symbolised by a totemic bear. Erlik was the deity of evil and darkness in Turkic mythology, as well as the king of the underworld and the judge of the dead. Erlik is Ülgen's sibling; both were formed from Kayra (Tengere Kayra Khan). He wants to be equal to Ulgen, so he creates his own land. He was imprisoned in the 9th stratum of the earth and grew antagonistic to the top world, the realm of light. According to the Khakas, Erlik lives in the lowest underworld, in a copper mansion with gold furnishings.

According to Altai folklore, Erlik created the spirits (İye) while still in heaven. When Erlik claimed divinity for himself, he was driven out and descended to earth along with his spirits. Another Altai tale holds that God (Tengri) gave Erlik a hammer and an anvil, but took away his power when Erlik used them to create evil.

According to another mythology, reported by Vasily Radlov, God commanded the first person to plunge into the primordial seas and retrieve a handful of dirt from the sea's bottom. However, the first person wanted to hide some dirt so that he might eventually establish his own planet. But the earth in his mouth increased, so he spit it out. Kayra, who created the universe in this tradition, banished the first human from the celestial realm as a kind of punishment and called him Erlik.

In another story, mankind were immortal before the arrival of Erlik. People and animals overpopulated the earth until a crow proposed bringing Death into it. So people summoned Erlik, and death entered. First, everyone knew when they'd die, so they lived in terror until Tengri concealed their date of death.

Erlik's malevolent spirits inflict misfortune, disease, and death among humans. These ghosts are envisioned as Erlik's helpers. Aside from this, his nine sons and daughters support their father's nefarious intentions. Erlik's daughters, in particular, strive to persuade a shaman to alter his mind as he tries to approach Ulgen with their beauty. Erlik causes all forms of disease and demands sacrifices from the people. If they do not sacrifice to him, he collects the dead remains of those he has slain and transports them to this lower realm, where he makes them his slaves. As a result, when illness strikes, people become afraid of Erlik and make numerous animal sacrifices to him, particularly in the Altai Mountains.

In shaman prayers, Erlik is characterised as a creature with a pig's face and teeth and a human body. Aside from his face, he is an elderly man with a well-built physique, dark eyes, brows, and moustache. According to the Dolgans, Erlik led Mammoths to the underworld. When they attempt to return to the surface, they freeze to death as punishment.

The dinosaur Erlikosaurus is named after him.

[lesbischl]

oomf is live tweeting ones listen of fua and it has activated some neurons,,,,,, im now in missing radlove mode,,,, and missing klein mode,,,,,, and missing lanc mode,,,, and missing harley mode,,,,, yes they do appear in order of importance i wont apologise for lesbianism

[myfavebandfizz]

High In Brighton- Music Video

credits:

Production Company: MrMr Films @mrmrfilms Director: Rosie Brear @robrear Executive Producers: Katie Lambert@k_lamb and Martha McGuirk@marthamcguirk Producer: Frankie Willcock @frankiewillcock

Artist Creative Director - Chloe Anderson @chloeanderson04 Director of Photography: Rik Burnell @rikburnell 1st AD: James Duddy @jumsdudd Production Designer: Matty Mancy-Jones @matty.mancey Movement Director: Pierre Babbage @movementbypierre Gaffer: Tom Thain  @tomthain_

Grip: Wolf Wasserman @dawolfmanw Focus Puller:Catharina Scarpellini  @catharinasz Loader: Nicolas Di Matteo @nicolas_di_matteo Runner / Boris Driver: Ollie Morris Art Assistant: Ruari Edmonds Sound Recordist / Design: Tomi Rose @tomrosetcr

Driver - Steve Barry Driver - Bob Cannon Stylist: Mia Maxwell  @miamaxwell assisted by Kyara Chapman @kyarasimone Make Up:  Georgia Hope @georgiahopemakeup assisted by Elena Broccoli @_make_up_by_el_ Hair Stylist: Guiseppe Stelitano @giuseppebstelitano Giant Head Designer: Liza Radlov @lizrad Cast: Helen Minassian @helen_minassian

Jermaine Young @iam.jjy

 Lucy Walker Evans @lyvansker, 

Paul Hughes

Editor: Maud Barry @maudbarryuk Edit Producer: Ella Marafini

Edit House - Final Cut @finalcutedit Colorist:Andi Chu  @andikdc Post Producers: Olivia Jessop @oliviarosejessop Post House: ETC @etc.colour Title Graphic Design: Miranda Bruce @mirandabruceart VFX: Sam Unwin @samwin55 at Nomad @nomadeditco

Sound Design - Tomi Rose @tomrosetcr

SPECIAL THANKS Panavision @panavisionofficial SHL @shl.london Full Monty Cafe Boris The Van Alex Wells @alexanderwellsstudio

[detectiveangel]

caricature of the actors in a 1925 soviet production of shakespeare's twelfth night at the s.e. radlov workshop theater printed in issue 19 (1925) of the journal "the life of art" by an unattributed artist

from left to right: maliugin as sir belch, alekseev as duke orsino, gurfunkel as olivia, i. berevkin as the fool, and nikolai cherkasov as sir andrew. yes, that nikolai cherkasov, of alexander nevsky and ivan the terrible fame. back in his leningrad eccentric stage actor days! here he is getting whipped by an actress in the role of olivia apparently in a cesario drag fit that looks to have been inspired by charlie chaplin's little tramp. this is a 1920s example of someone seeing a famous actor and thinking "he's got t-boy swag."

[presencinglife]

Nikolai Ernestovich Radlov the creator of this masterpiece was a Soviet Russian graphic artist, painter, theatrical designer, illustrator, caricaturist, teacher and art critic. 'Picture Stories' left an indelible mark on my psyche as a child, and I still love revisiting it today for the smiles it brings me.

[koval-nation]

149) Isztyaki (istyaks); Иштяки (истяки) - egzoetnonim Baszkirów z IX[1]-XIX w. pochodzenia ugrofińskiego lub tureckiego, a także etnonim języka syberyjskiego, w tym Tatarów Baraba, stosowany do ich przez Kazachów i inne sąsiednie narody. Według niektórych badaczy etnonim pochodzi z języków tureckich i odzwierciedla związki Baszkirów z Oghuzami, inni uważają, że wywodzi się z języków ugrofińskich i odzwierciedla kontakty Baszkirów z Ugryjczykami, a później – Węgrami. Niektórzy naukowcy wskazują, że etnonim ma pochodzenie indoirańskie i odzwierciedla interakcję plemion baszkirskich z plemionami indoirańskimi. Według innego punktu widzenia termin ten pochodzi od nazwiska jednego z przywódców związków plemiennych Baszkirów. Większość autorów (A. V. Aksanov, R. S. Khakimov, R. A. Vafeev i inni) stoi na stanowisku, że termin „ishtyak” (istyak) jest etnonimem używanym przede wszystkim w odniesieniu do plemion baszkirskich, w tym obejmujących także inne narody. Według innej części badaczy (V. V. Napolskikh, I. E. Fischer, M. Z. Zakiev, V. V. Radlov, V. F. Gening) pojęcie „ishtyak” było równoznaczne z rosyjskim „Ostyak” i pochodziło z języków tureckich, gdzie etnonim „ishtyak” oznaczało obcą pogańską ludność. W źródłach rosyjskich począwszy od 1499 roku znane jest bliskie semantycznie określenie „Ostyak”, które odnosiło się głównie do Chantów, Selkupów i Mansów i jest ich przestarzałą nazwą. Isztyaków nazywano plemionami lub częścią plemion Baszkirów, a także Tatarów syberyjskich (w tym Baraba). Często samo określenie „isztyak” (istyak) było używane przez Kazachów w odniesieniu do Baszkirów. Słynny archeolog V. F. Gening na podstawie źródeł pisanych zasugerował, że ludność kultury Sylven, zwana Turkami „Ishtyaki”, należała do Ugryjczyków, odnotowując w źródłach pisanych z XVII wieku takie grupy klanów, jak Syryantsy, Tersyaks, Sargach, Sylven i Iren Ostyakowie i inni, którzy swoim pochodzeniem związani są z najstarszymi lokalnymi klanami ugrodzkimi.

Tadjetdin Yalchygul, w oparciu o legendy genealogiczne, sporządził skonsolidowany szezher plemion i klanów Baszkirów, co wskazuje, że Isztyak jest przodkiem plemion Baszkirów i legendarnym przodkiem Baszkirów. Tradycję tę kontynuował Mukhametsalim Umetbaev. Inni naukowcy wskazują, że etnonim ten pochodzi od imienia jednego z przywódców plemion Baszkirów. F. I. Stralenberg nazwał Baszkirów Ostyakami, ponieważ mają rude włosy i sąsiedzi nazywają ich „Sary-ishtyakami” (Ostyakami). W. N. Tatiszczew w swojej pracy „Истории Российской” wskazał, że Baszkirowie i Kazachowie nazywają ich „Sary-Ostyakami”. Z. G. Aminev, powołując się na doniesienia autorów arabskich z IX-XII wieku (Jeykhani, Istakhri, al-Masudi, Idrisi) na temat dwóch grup Baszkirów (wewnętrznej i zewnętrznej), uważa, że ​​​​etnonimy baszkirskie „kudey” i „ishtyak” są echa podziału na Baszkirów „zewnętrznych” i „wewnętrznych”. Uważa także, że etnonim „ishtyak” („ishtyage” / „wewnętrzny”) oznaczał południowo-wschodnich Baszkirów, których sąsiadami byli Kimakowie i Kipczakowie (przodkowie narodu kazachskiego). Antropolog i etnolog R. M. Jusupow uważał, że baszkirskie „isztyaki” wywodzą się od jednego z najstarszych ówczesnych plemion południowego Uralu – Dahamów. Według historyka L. A. Yamaevy, „ishtyak” pochodzi od irańskiego słowa „spaka”, co oznacza «собака, пёс» („pies”). W mitologii indoirańskiej wilk i pies były symbolami walki z wściekłością i odwagą. R. Sz. Wachitow wskazuje na istnienie wersji pochodzenia etnonimu od irańskiego „isti” – najeźdźca. W kirgiskim eposie „Manas” Baszkirowie nazywani są „Esztekami”. Według S. Alijewej i R. Gabbasowa „isztyak” pochodzi od imienia przodka kirgiskiego plemienia Solto, do którego należą klany Ai-Tuu i Sart (wśród Baszkirów Ai i Sart).

Wśród Tatarów syberyjskich wyróżnia się grupę Isztyak-Tokuzów, której pochodzenie wiąże się z Baszkirami i Oguzami (istniały do ​​XI w.). Ponadto badacz N. A. Tomiłow zauważa, że ​​Kazachowie często nazywali Tatarów syberyjskich usztyakami, isztyakami, esztekami. W pracach XVII-wiecznej osmańskiego podróżnika Evliyi Celebi, ludność turecko-muzułmańska regionu środkowej i dolnej Wołgi nazywana jest Heshdekami, Heshdechami lub Heshdek Tatarami. Tłumacze jego dzieła z Akademii Nauk ZSRR podają, że termin „haszdek” należy do Tatarów astrachańskich, syberyjskich i kazańskich, z czym zgadza się z nimi rosyjski historyk-orientalista I. W. Zajcew. Chociaż według Inana Abdulkadyra, A. G. Salikhova termin ten w twórczości Evliyi Celebi opisuje Baszkirów, a według Yu. M. Yusupova ma wyraźne podobieństwa z terminem „ishtyak”, którym określano Baszkirów. R. M. Jusupow przyznał, że etnonim „ishtyak” jest w zasadzie turecką formą imienia potomków starożytnych plemion południowego Uralu - „Kheshdeks” lub „Kheshdaks”. W tym przypadku „kheshdak” lub „kheshdah” zostanie przetłumaczone z języka irańskiego jako „krewny, potomek, krewny wielkich, potężnych dah”, gdzie „hash” jest względny, potomek, a „dah”, „dak”, „ dau” jest świetne (Iran). Ponadto Ju. M. Jusupow zwraca uwagę, że pod pojęciem „haszdeków” należy rozumieć kilka grup etnicznych prowadzących koczowniczy tryb życia i zamieszkujących południe Rosji.

[beecl0wn]

Have they:)

[trywithmalia]

(Amazon Affiliated Link Post) -- YALL MY BACK PAIN WAS GETTING REAL, I NEEDED A STANDING DESK ASAP & THIS DESK IS AMAZING & SUPER CUTE & HAS 4 CUSTOM PRESET SETTINGS FOR YOU. IT CAME WITH EITHER WHEELS OR SILICONE BASE BUT I USED THE WHEELS BECAUSE I WILL BE MOVING THE DESK AROUND MY OFFICE. I ABSOLUTELY LOVE IT AND YOU WILL TOO! IT'S PRICED AT 169 BUT IT CURRENTLY HAS A $15 OFF DISCOUNT.

[lv-bites]

How did you Love?

    The family that Tough has now, and in the future, would help him understand Radiance… Sun’s Radiance, his ex… his best friend… the only person to have truly understood him. Radiance's need to be relevant, to be greater, to be an immortal God. Tough hated him for that, because from his point of view, it was a selfish and needless death. Everything Radiance did brought him to that death.

    But Radiance, like Tough, wanted to leave a mark. He wanted to be remembered. He wanted to touch the lives of others, and give them purpose. Radiance and Tough both wanted to be at the centre of that. Radiance genuinely seemed to love his cult, love his church. Tough assumed they were seen as assets, disposable, and maybe they were. but when Tough rejected becoming Radiance's worshipper, it seemed to be like a betrayal. Tough didn't want to become just another number of mindless followers, but from Radiance's view, Tough was rejecting his love. Rejecting him. Rejecting his mark... his impact.

    Tough's rejection of Radiance snuffed out whatever Godhood he felt closer to. He couldn't maintain his form, his health, even his sermons would peter out...

    And then he died. He was dead long before Tough slithered in to the barn. He was dead long before Tough prayed to him... all that remained was a husk, frozen in a pose of divinity. And it collapsed on top of the one he needed to love him most.

          And killed Tough, too.

    If Tough were to understand Radiance’s perspective, it would be after he's spent more time with his nieces. Likely while taking back the Underwaste. I can see him feeling so proud of his charges... his nieces. But the thought of losing them, it strikes such a chord in him. It's not like before.. it's not something that just happens. It doesn't feel like betrayal either... rather. It is a risk. A loss.

    It stirs him, this thought, much in the way he felt when he lost Radiance.

    While underground, Tough goes out on his own, into the more abandoned parts of the old Colony. People congregated in the massive centre city, where trade was welcomed. They forgot the dark times, they forgot the ones who died, who drowned, who were buried… they forgot the screams. Tough Love never did.

    He finds his old home, or what is left of it. Mostly collapsed in from cave ins and rot... but he sees his old cot, and finds some green army men under the pillow. Tough holds them... he can't remember his parents' faces at all. There are silhouettes, there are garbled voices, there are rough crayon scribbles all over where their faces out to be.

    He sees a single, giant sunflower growing from the ceiling, its petals are bright, glowing pink. Rather than trying to grow upward, it is upside-down and growing toward the pillow, perhaps reaching down towards… his old cot? Maybe, those green army-men that were hidden beneath the pillow. How Theodore loved his little green army-men.

    Tough's eye widens. Wouldn't a sunflower want the sun? Even one as full of corruption as this? Why grow towards what used to be...

    It hits him.

        Radiance... grew towards love. Love.

    He wanted the same things Tough wanted, but their madness, their sicknesses... prevented them from really, truly being able to know it.

    They were from this place. Both of them. Different mining colonies, yes, but still... They had both come from this Hell. Radiance's words to Tough hit him like a sack of bricks. "I'm forgetting, Teddy."

    Forgetting was natural for those whose lives were ruined by the Poison, but that longing, that yearning translated into a need to be remembered. To never be forgotten. To make a mark. Every person lost to this tragedy, buried below, didn't want to be forgotten.

    Tough would think about Radiance describing his to-be ascension. How happy it made him, the idea of always watching everyone, warming them, guiding them. And so many people, though unable to look upon him directly, would love him. Worship him. Unable to forget him.

    Tough was always so literal, always dismissing the notions of Godhood. He didn't want to lose his best and closest friend. And in the end... he would reject him. Tough would now be able to see that Radiance's dream of being worshipped was a mutation, a corruption of needing to be remembered. Of having mattered. And when Tough rejected him… Radiance rejected Tough, cursing him out as a heretic, as blasphemous. He disguised his pain, his broken heart, with scriptures spoken so callously. He would scar Tough’s eye and he would leave him as the serpent cried out for him to stay. Promises of leaving together, just the two of them, like old times. Radiance didn’t want it to be like old times… he wanted to be adored. He wanted to be loved. He wanted to be worshipped. He wanted to leave an impact… a mark. If Tough were the only person who knew him, then how would he be remembered?

    Tough moves his hands to his face, hearing the soft clatter of the bracelet he wore. He stares at it, remembering Radiance's softness. The psalm he recited as he placed the bracelet in Tough's scarred palm, like prayer beads.

    FOR THE LORD GOD IS A SUN AND SHIELD. THOSE WHO LOOK TO HIM ARE RADIANT; THEIR FACES ARE NEVER COVERED WITH SHAME.

    Tough can't help the sudden cry that escapes his throat, he crumples down on himself, tearing off his eye-patch and pressing the bracelet to his closed eyes. He sobs wretchedly, curling on himself tighter. He thinks of his family… the one he can remember. The one he made, choosing each member himself. His gang, The Surprisingly Severe. He thinks of Specter. Of Latch and Buttons. They would have followed him everywhere.

    He thinks of his nieces, his… children? Martyr, Elaina, Carey. They remember him. They know him. He's left his mark on them... and they still choose to be here. He gave them purpose, and they gave him life.

    He understands now, Radi. He understands now. You wanted to be remembered, at your core, that flame had never gone out. You wanted… to be loved. You wanted to have mattered. You wanted your life, which had been so carelessly discarded, to have meant something.

[gorbigorbi]

Viktoria Tereshkina as Juliet Capulet and Kimin Kim as Romeo Montague, "Romeo and Juliet", choreography by Leonid Lavrovsky, music by Sergey Prokofiev, libretto by Andrian Piotrovsky, Sergey Prokofiev, Sergey Radlov and Leonid Lavrovsky, based on the tragedy of the same name by William Shakespeare, set and costume design by Pyotr Williams, Mariinsky Ballet, Saint Petersburg, Russia

Photographer Aleksandr Neff

[artdjgblog]

Posters by Vladimir Lebedev and Pavel Sokolov-Skalia & Nikolai Radlov, 1942 (source)