#sister latea

[buriedknight]

God-Eye Galatea

slight revision of an old work of mine

[blizzoops]

Pretty much

[robustconviction]

[one-winged-beauty]

A more canon version of my previous Galatea, I couldn’t resist.

[goatalicious]

yall ever think about how many Rabona nuns probably lost their MINDS when Sister Latea joins them.... did father Vincent just waltz in with Latea in tow like 'sisters, heres this strong, 6'1, scarred, bde emitting lady with a mysterious past. remember your vows. good luck'

how many swooned. i know i swooned

[norihiroyagi]

[ripplingsword]

Sister Latea from Claymore

[dollsonmain]

Long post incoming!

So I haven’t been posting any pics of my dolls as displayed because I decided a couple years back to start liquidating my collection so there’s less stuff to manage when I finally can move.

But the BJD generally aren’t on the chopping block, though I have let go of a couple of them that I didn’t really click with (Ji and Bach).

Most of these were bought with my own money, though some were gifts and some were won in drawings.

The majority of my dolls are hybrids.

I do include my vinyl/ABS dolls in the BJD category because of aesthetics.

Goob (left) is a Parabox Ai head on a Goodreau MiM Body.

Mika is a volks MSD Mika

Little Kurhn Colorist Mint

Goodreau Innuendo though she’s currently for sale on eBay, so not really part of my collection. She’ll be added in again if she doesn’t sell.

EVERYONE ELSE.

Starting at the top left.

Bastien, Batchix Bastien head on zombie body prototype, dyed - gifted

Constance, modded Volks old F-04 on a Xinyi body - bought by me

Fakiechan, a modded fake Aleep Eidolon Moira vinyl head on a DBS Dream Fairy body (don’t get me started on how pissed I am at DBS) - gifted

Groddy/Gardenia Rhodes, DDH 07 I think, HEAVILY damaged both to face and body and repaired - bought

Terra, Unoa Latea or Marion head (I forget which...) on Xinyi body - head gifted, body bought

Gum, HEAVILY damaged SD10 Ryo head on an Obitsu50 body (sayaka Miki’s body) which was damaged and repaired - bought

-

Elma, 4StarDoll Edmund head on AoD body - bought

Long Noodle, I THINK he’s a Clever Little blown up and prototype-printed in filament? I don’t remember right now. - gifted

Mimi, Volks SD13 Mimi head on SD10 body - bought

-

Ichiro, Luts/CP Sleeping Sooni on CP Boy Type 1 body - body bought, head given as payment for a faceup

Violet, my VERY FIRST BJD bought in 2001 but body upgraded from the old-old ugly hip balled SD10 in like 2005 or so, Volks SD13 Megu on CP Mature Type 1 - bought

Hyacinth, SD13 Four SIsters or the FCS head, not sure which, on a really cheap Night Lolita knock off body IIRC??? I don’t know. - head gifted, bode bought

Hyacinth is holding Suve, who’s brand I can’t think of right now - Gifted

Lily, SD13 Four Sisters Nana on CP Mature Type 1 - bought

Bellamy, SD13 Four Sisters (don’t know which) head on Mirrodoll Thunder body - head bought by me, body bought by That Guy

Bellamy is holding Dahlia, CherishDolls Pia - bought

Bellamy is also holding Alexander, a DollZone Christmas Baby A - gifted

Giselle, RML 01 modded head on Obitsu60 BJD-style with Volks Dollfie Dream bust - bought

-

Steve, Bishounen House Steve - won in a drawing

Emi, Obitsu50 Sayaka Miki head on Obitsu45 body - bought

Doyen, Volks Customize Figure Kit - bought

Lusis, Unoa Lusis 1.5 - bought

Alyssa, Unoa Sist 1.0 - bought

-

Calliope, HDD10 modded on MDD body - bought

Moon Moon, Obitsu head though I don’t remember which on Xinyi body - bought

Sleeping MiniMee, DiM MiniMee head on Xinyi body - head won in drawing, body bought

MiniMee, DiM MiniMee head on DiM Happy (old) body - head won in drawing, body bought

Nameless Unoa, Unoa faceplate on Buff headback on a Prettie Girls body - faceplate gifted, headback and body bought

Alice, Heavily modded Machina Alpha - bought

Smooshface, A Dollzone head that had been in a fire and modded on a Batchix Machina boy body - head bought, body gifted

[ibtk]

Book Review: CYCLOPEDIA EXOTICA by Aminder Dhaliwal (2021)

(Full disclosure: I received a free e-ARC for review through Edelweiss.) CYCLOPEDIA EXOTICA begins as an encyclopedia entry on Cyclops: a totally real subspecies of "archaic humans" that originated in Italy and settled in western Eurasia, only to emerge from an isolated existence in caves and volcanoes ~120 years ago. Their efforts to integrate into "Two-Eyed" societies were often thwarted; Cyclopses were relegated to sheep herding, their traditional vocation, or recruited into circuses. All this changed with a nudie magazine called Playclops, which in 1978 featured a model named Etna on its cover. At which point Etna comes to life and invites the reader to learn about Cyclops through their own stories. The comic strips in CYCLOPEDIA EXOTICA revolve around a large cast of Cyclops characters, loosely connected Six-Degrees-of-Kevin-Bacon style. There's Pari and Tim, an interspecies couple about to welcome their first child into the world; Latea, an aspiring model and actress; Pol, a romantic whose optimism is slowly but surely being drained by the dating scene; Bron, one of the first Cyclops to undergo experimental two-eye surgery, and who once again lives with one functioning eye; Arj, a vibrating ball of anxiety still haunted by his childhood bully; Grae and Jian, twin sisters in an avant garde artistic partnership; and, of course, former cover model Etna, now an activist, counterbalanced by Vy, who for a time was the face of the "lift and separator" bra, and now teaches media literacy to impressionable young Cyclopses. 

The characters' life experiences and relationships with one another hint at some of the many topics Dhaliwal explores: fetishization, representation (including #ownvoices), unrealistic (and speciesist) beauty standards, police bias, hate crimes, capitalism, scientific speciesism, microaggressions, maternal mortality, etc. Among my favorite panels are parents-to-be Pari and Tim declaring that they don't care whether their baby has one eyes or two, as long as they're healthy - and a boy (!);

and Arj, confronting his childhood bully Eric Wood. 

CYCLOPEDIA EXOTICA is an insightful, entertaining read, though it gave me all kinds of mixed feelings. Dhaliwal uses a mythical creature to interrogate racism, xenophobia, and misogyny - and, while I think it mostly works, the idea itself makes me uncomfortable: what does it say about the collective we, if we're better able to relate to or sympathize with a fictional creature than, say, Black people or immigrants? I guess you could argue that fantastical setting and comedic setup might lower the audience's guard, making them more susceptible to your message. And yeah, this is probably true, to an extent. But this makes me wonder how many readers will actually connect the dots, especially as Dhaliwal tends to end each strip with a lighthearted joke rather than doubling down on her point. Either way, I enjoyed CYCLOPEDIA EXOTICA (even more so on the second reading), and can't wait to dive into her freshman book, WOMAN WORLD.

[brave-little-taylor]

...in this house, women and non-men *do* run tech . lowkey (highkey) these humans are the actual best . SoHo Shakespeare Company presents the World Premiere of ‘The Sisters’ adapted from Shakespeare’s Macbeth . . . 🦊💸 Donate and help us raise up our inaugural production at www.sohoshakes.com . . .  @sohoshakes  #SSC #sohoshakes #sohoshakespearecompany  #teatrolatea #foxes #Macbeth #TheSisters#nyctheater #nyc #theater #theatre #nyctheatre#sohonyc #actors #sohotheater #sohotheatre#theatermakers #tickets #WilliamShakespeare#Shakespeare #ticketsonsale #thebard#nycshakespeare #pursuingknowledge #donate#soho #thatcompanylifethough #tixonsale #tix 📸: @_morgan_makes_things_ (at Teatro LATEA) https://www.instagram.com/p/Bxbeoh0jOX5/?igshid=1vbbhz9jyee7n

[carltonejones]

Thanks Sister Latea Taylor! Get your copy of The Independence Day Project at Blackindependence.org or inbox me if you're in the Philadelphia area! https://www.instagram.com/p/B6bk985H0rd/?igshid=1x7iesssz3v1b

[robustconviction]

[one-winged-beauty]

Im embarrassed about how hard i worked on this.. Galatea serving looks based on this post

[trascapades]

🎶🎭🇭🇹 #ArtIsAWeapon VODOU ROOTS: A Love Story Musical by: Régine Romain @regineromain tonight Teatro LATEA at The Clemente | @teatrolatea 107 Suffolk Street NY, NY 10002. 7:00-10:30PM; Doors - 6:30PM. $15/online + $20/door Purchase Tickets: www.teatrolatea.org ••••••••••••••••••••••••••••••••••• Repost from @regineromain - “As a child, my fascination with 'the spirits' began with the seasonal visits of my aunt, Tante Rose Marie. She was our family griot, the SANBA… Unbeknownst to my strict Christian parents, whenever she came to visit 'Tatie' also connected my sisters and I to songs, dances, and rituals of a taboo Vodou culture.” - excerpt “VODOU ROOTS: A Love Story Musical” Podcast (iTunes + SoundCloud) ••••••••••••••••••••••••••••••••••• Régine Romain carries the audience through tales of her #Haitian heritage, personal musings and #anthropological #research, through an engaged and dynamic mixed-media experience. Using spoken words, #song, #dance, and #visuals, Régine and invited #artists/special guests offer a dramatic performance of #Vodou's cultural survival throughout the African Diaspora. ••••••••••••••••••••••••••••••••••• SPECIAL GUESTS Jah Baba | @jahbaba1 Ikeoma Divine | @ikeomadivine DJ Sabine Blaizin (Oyasound) | @sabineblaizin ••••••••••••••••••••••••••••••••••••••••••••••••••••• #teatrolatea #blackhistorymonth #vodouroots #Haiti #HaitianCulture #traditionalafricanreligion #vodourootspodcast #jahbaba #ikeomadivine #djsabine #regineromain #wawawadiasporacentre #Music #Theater #BlackGirlTheaterGeeks🤓#TraScapades #ArtIsAWeapon (at Teatro LATEA) https://www.instagram.com/p/BuEk3UyFhT0/?utm_source=ig_tumblr_share&igshid=1nxqi5ba8gksa

[newyorktheater]

It was uncanny how much “Noirtown” made me feel as if I was living inside a film noir classic like “The Maltese Falcon” or “The Big Sleep” – stylish, seductive, tough-talking and unfathomable.  For much of the time, I didn’t know what the hell was going on.

“Noirtown” opened the inaugural Rave Theater Festival,  which is presenting 20 new works from August 9th through August 25th in a single building, The Clemente Soto Velez Cultural Center at 107 Suffolk Street on the Lower East Side.

“Noirtown” unfolds on the second floor of the building, in Teatro Latea, a space with three rooms, two hallways, and a shallow mirrored alcove. This is an important detail, since the show, a production of a two-year-old immersive theater company called Witness,  requires audience members to choose which characters to follow from room to room.

As with the classic film noir, “Noirtown” begins in mystery, but also something close to clarity.

In what looks like an old, dark lounge, with a bartender serving drinks, an attractive chanteuse with swept back hair, wearing a slinky red dress, walks up to the microphone and sings an old torch song.

When she’s finished, she grabs a drink…and is approached by a man in a trench coat and a fedora.  He compliments her singing voice. She thanks him for the compliment. They start talking and she winds up telling him she has a problem: She lost some of her belongings in a fire, and needs a new passport, but when she went to get a copy of her birth certificate from the city clerk….somebody else had pretended to be and taken the original document just one day earlier.

The man reveals himself to be a “PI” – a private investigator — and offers to help.  He lights the woman’s cigarette, illuminating their faces. Then he says: “You didn’t recognize me?”

She replies: “I don’t know what you’re talking about.”

But he’s sure he knows her from nine years earlier, and he is sure her name is Effie, though she says it’s Vivian.

The scene is intriguing. But at least half the audience missed it.

They went instead to one of the two other rooms. One looks like an old-fashioned office complete with a glass door etched with the name of a private detective (that’s actually a projection), where a different Effie in the same red dress approaches a different private investigator, younger than the first, with a different problem: Her sister is missing.

In the third room, which flashes projections of old film noir scenes onto the wall, a third Effie in the same red dress approaches a man who turns out to be a third private investigator, older than the other two, although he at first seems to be just an old haggard bum, sleeping on a bench. As they talk, it becomes clear they’re outdoors, in a rough part of town – they’re on the waterfront.  She’s there because it’s near where a friend of hers drowned. She doesn’t think it was an accident. He offers to help.

That’s the set-up. What follows is….well, at one point two of the PIs get into a fight, and the older one pulls a gun; that was clear.  There are sound effects of a car chase. There’s a dead body under a white sheet.  And there are a lot of …cryptic conversations.

“None of this makes sense,” the oldest detective says at one point. “Years of cases, details, nothing fitting together.” I sympathized.

It’s not surprising that all the Effies turn out to be lying, and that what the detectives unearth is convoluted. What’s more surprising is that these three cases turn out to be neither the central nor the most interesting mysteries. That would be: Why are there three Effies and three detectives?

I won’t give away any answers here. I’ll only say 1. the twist is fairly clever and unconventional,  and 2. if you walk out of the show still feeling completely in the dark, please write to me and I’ll clarify as best as I can: After the show, playwright Michael Bontatibus, who is the artistic director of Witness, was kind enough to respond to my request and send me the script.

There is much to admire in the way the script respects the genre; “Noirtown” is not a parody in any way. I understand that an essential part of noir is to keep the audience in the dark, literally and metaphorically, as long as possible – to hold back information; Humphrey Bogart’s characters kept his cards close to his vest and his cigarette close to his lips.

The problem here is the show is also “immersive,” which in this case means it is in part designed for you to catch only some of what’s going on. About halfway through the piece, when all six actors are gathered together in the lounge,  they reveal a crucial clue. If you miss it, you have to wait until near the end to make much sense of what follows. And the peripatetic staging makes it more likely you will miss the clue than in a conventionally staged mystery, which meticulously controls our attention.

Another aspect of the production that adds to the confusion is the employment of only six actors for a story that involves other important characters who are only talked about, rather than portrayed.

Still, I enjoyed “Noirtown,” didn’t mind at all rushing around from room to room (it felt like exercise), and deeply appreciated how spot-on some of the dialogue. One monologue in particular not only captures the noir rhythms of the character, but helps explain why a theater company like Witness would be drawn to the genre:

“This life we choose to lead, it’s dangerous, but we can’t quit. We love it, we love the smoke-filled lounges, the city after midnight, the gangsters, the dirty cops, the booze, the lies, all of it. Even though we know it’ll destroy us, it seduces us all the same. “

  Noirtown will only be performed twice more, according to the Rave website, on August 17 and 24th, and they’re both sold out.

Rave Theater Festival Review: Noirtown. Immersive Bogarting. It was uncanny how much “Noirtown” made me feel as if I was living inside a film noir classic like “The Maltese Falcon” or “The Big Sleep” – stylish, seductive, tough-talking and unfathomable.  

[valenshawke]

Headcanon: Sister Latea

Towards the end of her life, Galatea asks Clare (since Miria has already passed away) not to have a public funeral and that the children she has taught (who are now adults) simply remember her for who she was, that mourning is not needed. 

While Clare tries to carry out her wishes, the children-now-adults and their children crowd the Church of Rabona to pay respects, mourn, cry, and show their love to the Sister that influenced their lives. 

While Clare is frustrated she could not carry out Galatea’s final wishes, she feels Galatea isn’t too upset.