#that's the beauty of a work of literature

[trials-of-a-spirit-worker]

I'll let you in on something as an ex christian and a child of religious leaders:

Canon Jesus as I've heard him be called here (genius btw) is kinder, more accepting and would fight for a lot of shit so called "Christian" nationalists would hate.

These bastards screaming Leviticus at gay and trans people have forgotten in the same book they're supposed to fucking love your god-damned foreigners and treat them like natives (not how we treated our actual Native Americans). Actual Jesus would beat a majority of these so called Christians out of the churches dedicated to him. Also...divorce is not allowed. I'm looking at the multiple divorced awful people who don't think they're the problem but turn on young kids and/or minorities. I'm staring hard at a so-called president and the trust fund baby he works for.

Fucking rape culture would piss that little Messiah off so much. He told your creep asses to scoop out your own eye if you have dirty thoughts because of how someone looked. How dare you blame a person for being attractive. You can control yourself fine! You're just refusing to.

Jesus hung out with prostitutes and gay people! For fucks sake and yet the people wearing his symbol will call for the annihilation of 13 year old little Billy because he found out he likes boys and girls!

You don't think your god sees it all?! I know what I read before. I remember what I was taught before. Atheists and non Christian religions or just leftist people in general are more prone to kindness and acceptance because they just choose to be good.

Am I saying they're gods people? No. Am I saying they're more godly than those who preach the Bibles words in hatred.

Literature wise? YES.

I'm not going to go here and say your god hates you. Cause I can't make that fucking call. I'm in no place. But God damn you have twisted words of forgiveness and love into something horrible.

You can't blame Satan for this. You can't claim the devil made you like this. This is the culture of hatred. Of unwilling and disgusting people in power taking a religion and making it a fucking cesspool. You can only blame your fucking selves.

And to those Christians who see the truth, who do not vibe with all that awful shit done in your god's name, I can only empathize with you. Just keep being you. Be accepting. Be loving. Worship in your own way.

I did long ago when I believed and I had such beautiful friendships and was a safe haven for many. That is how you're supposed to be.

[mywitchlove]

"𝕋𝕙𝕖 𝕕𝕒𝕣𝕜 𝕕𝕚𝕧𝕚𝕟𝕖"

𝕊𝕙𝕖 𝕤𝕚𝕥𝕤 𝕦𝕡𝕠𝕟 𝕒 𝕥𝕙𝕣𝕠𝕟𝕖 𝕠𝕗 𝕟𝕚𝕘𝕙𝕥,

𝔸 𝕘𝕠𝕕𝕕𝕖𝕤𝕤 𝕓𝕒𝕥𝕙𝕖𝕕 𝕚𝕟 𝕔𝕒𝕟𝕕𝕝𝕖𝕝𝕚𝕘𝕙𝕥.

𝕎𝕚𝕥𝕙 𝕙𝕠𝕣𝕟𝕤 𝕥𝕙𝕒𝕥 𝕜𝕚𝕤𝕤 𝕥𝕙𝕖 𝕧𝕖𝕝𝕧𝕖𝕥 𝕕𝕒𝕣𝕜,

𝕊𝕙𝕖 𝕝𝕖𝕒𝕧𝕖𝕤 𝕥𝕙𝕖 𝕨𝕠𝕣𝕝𝕕 𝕙𝕖𝕣 𝕨𝕚𝕔𝕜𝕖𝕕 𝕞𝕒𝕣𝕜.

ℍ𝕖𝕣 𝕘𝕒𝕫𝕖 𝕚𝕤 𝕗𝕚𝕣𝕖, 𝕙𝕖𝕣 𝕝𝕚𝕡𝕤 𝕒 𝕤𝕡𝕖𝕝𝕝,

𝔸 𝕨𝕙𝕚𝕤𝕡𝕖𝕣𝕖𝕕 𝕙𝕪𝕞𝕟, 𝕒 𝕥𝕠𝕝𝕝𝕚𝕟𝕘 𝕓𝕖𝕝𝕝.

ℍ𝕒𝕟𝕕𝕤 𝕠𝕦𝕥𝕤𝕥𝕣𝕖𝕥𝕔𝕙𝕖𝕕 𝕚𝕟 𝕤𝕚𝕝𝕖𝕟𝕥 𝕘𝕣𝕒𝕔𝕖,

𝕊𝕙𝕖 𝕚𝕤 𝕥𝕙𝕖 𝕧𝕠𝕚𝕕, 𝕥𝕙𝕖 𝕤𝕙𝕒𝕕𝕠𝕨’𝕤 𝕗𝕒𝕔𝕖.

𝕋𝕙𝕖 𝕤𝕚𝕘𝕚𝕝 𝕓𝕦𝕣𝕟𝕤 𝕓𝕖𝕙𝕚𝕟𝕕 𝕙𝕖𝕣 𝕗𝕣𝕒𝕞𝕖,

𝔸 𝕤𝕖𝕒𝕝 𝕠𝕗 𝕡𝕠𝕨𝕖𝕣, 𝕖𝕥𝕔𝕙𝕖𝕕 𝕚𝕟 𝕗𝕝𝕒𝕞𝕖.

ℍ𝕖𝕒𝕧𝕖𝕟 𝕗𝕖𝕒𝕣𝕤, 𝕒𝕟𝕕 ℍ𝕖𝕝𝕝 𝕒𝕕𝕠𝕣𝕖𝕤—

𝕊𝕙𝕖 𝕚𝕤 𝕥𝕙𝕖 𝕜𝕖𝕪 𝕥𝕠 𝕦𝕟𝕤𝕖𝕖𝕟 𝕕��𝕠𝕣𝕤.

𝕂𝕟𝕖𝕖𝕝 𝕓𝕖𝕗𝕠𝕣𝕖 𝕙𝕖𝕣, 𝕝𝕠𝕤𝕖 𝕪𝕠𝕦𝕣 𝕟𝕒𝕞𝕖,

𝔽𝕠𝕣 𝕤𝕙𝕖 𝕨𝕚𝕝𝕝 𝕟𝕖𝕧𝕖𝕣 𝕓𝕦𝕣𝕟 𝕟𝕠𝕣 𝕥𝕒𝕞𝕖.

𝕊𝕙𝕖 𝕚𝕤 𝕓𝕠𝕥𝕙 𝕔𝕙𝕒𝕠𝕤, 𝕤𝕙𝕖 𝕚𝕤 𝕔𝕠𝕟𝕥𝕣𝕠𝕝,

𝕋𝕙𝕖 𝕕𝕒𝕣𝕜 𝕕𝕚𝕧𝕚𝕟𝕖, 𝕥𝕙𝕖 𝕓𝕝𝕒𝕔𝕜𝕖𝕟𝕖𝕕 𝕤𝕠𝕦𝕝.

☽◯☾

[blackstarlineage]

The Harlem Renaissance and Black Arts Movements: A Garveyite Perspective on Cultural Pride, African Heritage, and Black Artistic Revolution

The Harlem Renaissance (1920s-30s) and the Black Arts Movement (1960s-70s) were two of the most influential cultural movements in Black history. They reshaped Black identity, celebrated African heritage, and used art as a tool for resistance against white supremacy. From a Garveyite perspective, these movements were more than just artistic expressions—they were crucial to the fight for Black self-determination, Pan-African unity, and the rejection of European cultural domination.

Marcus Garvey understood that culture is a weapon in the battle for Black liberation. He saw the Harlem Renaissance as a parallel movement to his call for Black nationalism, and the Black Arts Movement as a continuation of the fight to decolonize Black minds and reclaim African-centered consciousness.

This analysis will explore:

How the Harlem Renaissance aligned with Garvey’s philosophy of cultural pride and self-determination.

The role of Black literature, music, and visual arts in celebrating African heritage.

How the Black Arts Movement expanded on Garvey’s ideas in the 1960s and 70s.

The political and economic limitations of both movements.

How Garveyism remains relevant to Black artistic resistance today.

1. The Harlem Renaissance as a Parallel to Garveyism

The Harlem Renaissance (1918-1937) was a cultural explosion that saw Black writers, musicians, visual artists, and intellectuals reclaim their African heritage and challenge racist portrayals of Black people.

A. The Shared Vision: Garveyism and the Harlem Renaissance

Marcus Garvey and the Universal Negro Improvement Association (UNIA) were at the heart of Harlem’s Black awakening.

Both movements emphasized racial pride, African heritage, and self-reliance in the face of white supremacy.

Garvey and Harlem Renaissance artists rejected white assimilation, advocating instead for Black cultural and political independence.

Example: While Harlem Renaissance poets like Langston Hughes and Claude McKay wrote about the struggles and beauty of Black life, Garvey was delivering speeches on Black nationalism and Africa’s restoration just a few blocks away.

Key Takeaway: The Harlem Renaissance and Garveyism were two sides of the same coin—one using politics, the other using art, both fighting for Black liberation.

2. The Role of Black Literature in Celebrating African Heritage

A. Poetry, Novels, and Essays as Tools of Resistance

Claude McKay’s poetry directly reflected Garvey’s message of resistance. His poem "If We Must Die" (1919) was a rallying cry against white violence and oppression.

Langston Hughes, Zora Neale Hurston, and Alain Locke infused their works with African traditions, folklore, and pride in Black culture.

Example: Alain Locke’s The New Negro (1925) mirrored Garvey’s vision of a self-aware, empowered Black identity, separate from European validation.

Key Takeaway: Harlem Renaissance writers used literature as a weapon in the fight for Black dignity and cultural sovereignty.

3. The Role of Black Music in the Harlem Renaissance

Music became one of the most powerful expressions of Black cultural nationalism.

A. Jazz and Blues as African Diasporic Resistance

Jazz, rooted in African rhythms and improvisation, became the soundtrack of Black freedom.

Artists like Duke Ellington, Bessie Smith, and Louis Armstrong used their music to uplift Black pride and challenge white stereotypes.

Example: Jazz was banned in Nazi Germany and heavily policed in the U.S. because it represented Black resistance and cultural independence.

B. The Garveyite Influence on Black Music

Garvey’s movement had its own cultural expression through UNIA parades, Negro World newspaper poetry, and Garveyite songs.

The “African Redemption” theme in Garveyism resonated with musicians who sought to reconnect with African spirituality.

Key Takeaway: Jazz, like Garveyism, was an act of rebellion—Black music thriving despite white attempts to suppress it.

4. The Black Arts Movement: The Next Evolution of Garveyite Cultural Revolution

By the 1960s, the Civil Rights Movement and the Black Power Movement had ignited a new wave of Black artistic expression: The Black Arts Movement (BAM) (1965-1975).

A. How the Black Arts Movement Expanded Garvey’s Vision

BAM was directly influenced by Garveyism’s call for self-determination and anti-colonial resistance.

Unlike the Harlem Renaissance, BAM artists saw their work as political weapons against white supremacy, not just creative expression.

BAM sought to create an independent Black aesthetic that was unapologetically African-centered.

Example: BAM leader Amiri Baraka (formerly LeRoi Jones) called for “art that fights,” echoing Garvey’s idea that culture must serve the liberation struggle.

Key Takeaway: The Black Arts Movement was Garveyism in artistic form—Black artists reclaiming their image, rejecting white institutions, and building their own cultural power.

5. Political and Economic Limitations of Both Movements

A. The Harlem Renaissance’s Dependence on White Patronage

Many Harlem Renaissance artists depended on white funding and publishing houses, limiting their political radicalism.

W.E.B. Du Bois and others criticized Black artists for performing Blackness in ways that pleased white audiences.

Example: Some Black intellectuals feared that white-funded projects controlled the narrative, diluting the radical potential of Harlem’s artistic explosion.

Key Takeaway: Garveyism warned that true Black independence can not exist if white institutions control Black culture.

B. The Black Arts Movement’s Isolation from Economic Power

BAM was revolutionary in content but lacked the economic base to sustain itself.

Black artists were shut out of white-controlled publishing, film, and music industries, limiting their reach.

Unlike Garvey’s UNIA, which built businesses, BAM lacked a clear economic strategy.

Example: The FBI’s COINTELPRO program actively suppressed Black radical artistic movements, fearing their revolutionary potential.

Key Takeaway: Without economic and institutional power, Black artistic movements remain vulnerable to suppression.

6. The Garveyite Solution: How to Strengthen Black Artistic Resistance Today

To truly realize Garvey’s vision of cultural sovereignty, Black artists today must:

Control their own distribution networks – Independent Black media, publishing, and film industries must be prioritized.

Use art as a tool of economic liberation – Artists should invest in Black businesses and reinvest profits into Black communities.

Reject corporate exploitation of Black culture – Black creativity should serve Black liberation, not corporate profit.

Reclaim African identity in all artistic forms – True decolonization means producing art free from Western influence.

Strengthen international Pan-African artistic networks – Collaboration between African and diaspora artists is key to building a global Black cultural economy.

Final Takeaway: Garveyism teaches us that Black art must not only inspire—it must empower, fund, and sustain Black freedom.

Conclusion: Black Art as a Weapon for Liberation

The Harlem Renaissance and Black Arts Movement were not just cultural explosions—they were revolutionary movements that fought to define Black identity on Black terms. However, both suffered from economic dependence on white-controlled industries.

Marcus Garvey’s philosophy offers the solution to this ongoing struggle:

Black artists must control their own platforms.

Black culture must serve political and economic liberation.

Pan-African artistic collaboration must be strengthened.

As we move forward, the next Black artistic renaissance must be fully independent, unapologetically African, and dedicated to global Black power.

As Garvey taught us:

"We must canonize our own saints, create our own heroes, and elevate our own culture."

The revolution must be financed, owned, and controlled by us.

[whencyclopedia]

Thomas Jefferson

Thomas Jefferson (1743-1826) was an American lawyer, statesman, philosopher, and a Founding Father of the United States. A prominent figure of the American Revolution, he wrote the Declaration of Independence and later served as the first secretary of state, the second vice president, and the third president of the United States (served 1801-1809).

Early Life

Thomas Jefferson was born on 13 April 1743 at Shadwell Plantation in Albemarle County, Virginia. He was the third of ten children born to Peter Jefferson, a wealthy planter and land surveyor, and Jane Randolph Jefferson, a daughter of one of Virginia's most influential families. When Peter Jefferson died in 1757, 14-year-old Thomas inherited 5,000 acres of land as well as 60 enslaved people. From 1758 to 1760, he was privately tutored by Reverend James Maury before going on to the colonial capital of Williamsburg to attend the College of William & Mary. In his first year at college, he spent lavishly on parties, horses, and clothing, but he would soon regret this "showy style of living" (Boles, 18). His second year, therefore, was much more studious; he would apparently spend 15 hours a day at his studies, pausing only to exercise or to practice his violin.

The studious Jefferson soon became the protégé of mathematics professor William Small, who he would fondly remember as "the first truly enlightened or scientific man" he had ever met (Boles, 17). Small introduced Jefferson to the two other great intellectuals in Williamsburg – law professor George Wythe and Lt. Governor Francis Fauquier – and, at their weekly dinner parties, the four men would discuss politics and philosophy, greatly influencing the young Jefferson's political and intellectual development.

After completing his formal studies in 1762, Jefferson remained in Williamsburg to study law under Wythe and was admitted to the Virginia bar five years later in 1767. In 1768, he was elected to the House of Burgesses, representing Albemarle County. That same year, he began construction of a new home atop an 868-foot-high (265 m) mountain that overlooked his plantation. Called Monticello – Italian for "little mountain" – the house became the passion of Jefferson's life, and he would spend the next several decades designing and renovating it. The actual labor, of course, was mostly performed by his slaves; over the course of his lifetime, Jefferson owned approximately 600 enslaved people, most of whom were born into slavery on his property.

In 1772, after several failed romantic pursuits, Jefferson was finally married to the beautiful young widow Martha Wayles Skelton. Five years his junior, Martha shared his passions for literature and music; indeed, they often played music together – she on the harpsichord, he on the violin. The couple would have six children, only two of whom – Martha 'Patsy' (1772-1836) and Mary 'Polly' (1778-1804) – would survive to adulthood. When Jefferson's father-in-law died in 1773, he and Martha inherited 11,000 acres of land and 135 more enslaved people. By then, Jefferson had become involved with Virginia's struggle against Great Britain. Parliament's attempts to tax the colonists without their consent were vehemently opposed by the American Patriots, who saw such taxes as violations of their 'rights as Englishmen'. In 1774, Jefferson argued as much in his A Summary View of the Rights of British America. In it, he asserted that the colonies had the right to govern themselves, that they were tied to the English king only through voluntary bonds and that Parliament had no right to interfere in their affairs. This work earned him recognition as a Patriot leader in Virginia and led to his appointment as a delegate to the Second Continental Congress in Philadelphia in the spring of 1775.

Continue reading...

[brklynbxby]

Dan’s gaze lingered on her as her words filled the room, a quiet admiration softening his features. In the fleeting moments of their coffee date, their conversation had skimmed the surface, veering only into the casual, the safe. But now, as she spoke with such quiet conviction, her bravery in addressing the room revealed a depth he hadn’t yet glimpsed, and it drew him in, compelling him to discover more of what lay beneath. He didn’t answer immediately, allowing the weight of her words to settle, to ripple through the air like the subtle aftershock of a stone skimming across water. Her voice lingered in his mind as his lips curled into a small, thoughtful smile. When he did speak, his tone was warm, genuine, as though the conversation had taken a turn toward something more intimate, more real. "That’s an excellent point," he said, nodding ever so slightly. "You’re absolutely right. The Romantics, they were driven by a deep, almost obsessive connection to emotion—the kind of longing that transcends the self, searching for something larger, something eternal. And, as you so beautifully pointed out, Lana Del Rey—her themes of self-destruction and obsession mirror the darker aspects of Romanticism. Her music, the melancholy, the passion—it’s a direct echo of the emotions Keats and Wordsworth poured into their works."

His gaze held hers for a moment longer before he looked away, letting his eyes drop to the floor. He slipped his hands into the pockets of his beige trousers and began to walk slowly along the front of the lecture hall, each step measured as though contemplating his next words. "Now," he continued, his voice a little more distant but still rich with conviction, "let’s turn to poetry. Think of poets like Rupi Kaur—one of my personal favourites. Her work often explores love, self-empowerment, and the human experience, but what strikes me most is the deep yearning for connection and transcendence, which is at the heart of Romantic ideals. Kaur, like the Romantics, seeks to elevate the spirit, to find deeper, more meaningful connections beyond the surface, to reach for something sublime."

He paused, allowing the weight of the thought to settle in the room before continuing, his eyes now scanning the class as he shifted his focus to the new generation of poets. "There’s also something uniquely beautiful in the shift we’re seeing in contemporary poetry—writers are unafraid to explore themes that were once frowned upon, and that’s given rise to new forms of expression. The emotional connections in Romantic literature between women were often constrained by their time, unable to fully flourish. But now, we have voices like Courtney Peppernell, who weave their own stories, free of those limitations." As his gaze landed back on Jasmine, he stopped in his tracks. He studied her for a moment, his brow furrowed as he tried to find the right way to frame his next question.

"Tell me, Miss..." He paused, waiting for her to offer her name, a silent invitation to make this moment even more personal. Once she responded, he addressed her directly, a small smile tugging at his lips. "What do you make of this poem? What themes resonate with you, and what does it mean to you?" With that, he pulled his phone from his pocket, his thumb lighting the screen as he scrolled to a note dated earlier that morning. He read aloud, his voice growing softer, almost reverent:

"I am thinking about a beautiful girl, her eyes like stardust scattered across a deep-blue sky. I am thinking about a beautiful girl, how I long to take her for coffee and spend afternoons at museums, cinemas, and libraries. I am thinking about a beautiful girl whose voice steals my breath away, how I would listen to her tell me her day over cheese and wine. I am thinking about a beautiful girl whom I would kiss every day, every hour, forever, if only she didn’t live so many miles away. I am thinking about a beautiful girl who deserves the universe, how just knowing her makes my heart burst."

His eyes lifted slowly from the screen, meeting hers with a subtle, unspoken question.

Jasmine's heart raced as she met his gaze. It was like time slowed down for just a second—an undeniable connection she couldn’t ignore. Her breath hitched in her throat, and she fought to steady herself, but the warmth spreading through her chest made it hard to focus. He’d smiled. It was small, almost imperceptible, but it was enough to make her feel seen. She quickly looked down, unsure of what to do with the sudden rush of emotions swirling inside her.

When his question lingered in the air, her mind scrambled for an answer, trying to calm the rapid beating of her heart. The lecture was still happening, his voice steady, but all she could think about was that moment, that smile. She wasn’t sure if she was brave enough to raise her hand, or if she should just stay quiet, but the spark inside her—no matter how tiny—urged her to do something, to speak. After a beat of hesitation, she raised her hand, her fingers trembling just a little. It wasn’t the right answer, or the perfect one, but it was the only one that felt honest in the moment.

Her hand hovered for a moment before she forced herself to raise it fully, feeling the eyes of the room settle on her. She could feel her heart thudding in her chest, but she kept her gaze fixed forward, trying to stay grounded. The weight of the moment was almost too much, but she pushed through. Her nerves fluttered, but she took a deep breath and spoke, her voice steady despite the way her hands shook.

"Well," she began, her eyes briefly flicking down to her notes before she locked them back on him. "I think a lot of modern poetry draws on the same ideas of longing and emotion that the Romantics were all about. Like, a lot of contemporary artists—especially in the music world—are tapping into raw vulnerability, whether it's about love or loss or even identity. Take someone like Lana Del Rey, for example. She often sings about nostalgia and that longing for something that feels unreachable, almost transcendent, which reminds me of how the Romantics saw nature as a way to connect to something bigger, something eternal."

She paused, feeling the room's eyes still on her. "It’s like... even in today’s world, we still look for that deeper meaning, that emotional truth, in everything we create." She shrugged, unsure if she had gone too far or said too much, but when her eyes met Dan's again, there was a sense of relief. It wasn’t perfect, but it was real.

[megaclubdiolis]

柄本 佑 || 「光る君へ」 (2024) · 第三十四回 「目覚め」 ​​​​​​

[tofubutter27]

Dream is the best medicine.

[trickstersaint]

the scientist’s question: which acid will burn the rainbow out of the sky without leaving a scar? // july 2023 // on "The Birth-Mark" by Nathaniel Hawthorne

[nerd-goes-reading]

Why?

You reappeared yesterday.

Why do you do this?

You visit me in my dreams,

though in reality

you seem to have

abandoned me.

D'you think

this is supposed to be

amusing in any way?

Are you mocking

my helplessness?

Well, even after all this

sometimes

I can't help but wonder

that maybe these signs

are something i

can't interpret very well.

by @nerd-goes-reading

Main blog @nerd-goes-blogging

Fan blog @thenerdyolive

[ekmosley]

Happy Winter Solstice everyone,  The stars are shining bright tonight. . . • * • *

[creative-anchorage]

“If you write what you yourself sincerely think and feel and are interested in,” Rachel Carson wrote as she contemplated the loneliness of creative work after her unexampled books about the sea made her one of the most beloved writers of her time, “you will interest other people.” ... Like Carson, who was too lyrical for science and too scientific for literature, Escher inhabited two worlds as an outsider to both; he felt that scientists nodded politely at his mathematically inspired art “in a friendly and interested manner,” but considered him merely a “tinkerer,” while artists were “primarily irritated” by his unclassifiable graphic daring. From this betwixt-and-between place, he lamented to his son: "It continues to be a profoundly sad and disillusioning fact that I am beginning to speak a language these days only very few understand. It only increases my loneliness more and more." In the introduction to the 1957 book about his core creative obsession, Regular Divisions of the Plane, he painted himself as a vessel for some larger creative force, available to all but accessed only by the very few: "I am walking around all alone in this splendid garden that does not belong to me and the gate of which stands wide open for anyone; I dwell here in refreshing but also oppressive loneliness. That is why I’ve been attesting to the existence of this idyllic spot for years… without expecting many strollers to come, however. For what enthralls me and what I experience as beauty is often judged to be dull and dry by others."

#FishFriday / #FrogFriday mashup:

Maurits Cornelis Escher (Dutch, 1898-1972)

Fish and Frogs, 1949

Wood engraving

Catalogue raisonné: Bool #364

image © The M.C. Escher Company B.V. - Baarn-Holland. [educational use]

This print was owned by Rachel Carson (a personal hero of mine), and Escher was inspired by her work as well; see link below for the story!

M.C. Escher on Loneliness, Creativity, and How Rachel Carson Inspired His Art, with a Side of Bach

[hiddenpie]

I want to experience all the many lovers available to me in this lifetime.

I don’t want expectations, i want experiences.

No I will not play carelessly with my heart, but I am willing to risk it….thats what I feel I’ve come to do anyways.

[cloehotham]

The Plane of Potentiality

[life-spire]

[minimalist-quotes]

The price of success is hard work, dedication to the job at hand, and the determination that whether we win or lose, we have applied the best of ourselves to the task at hand.

-Vince Lombardi

[liesandnights]

Look, I don’t think my stretch marks are beautiful. I don’t think they are tiger stripes or natural tattoos. I don’t think my acne is beautiful. I don’t think the bags under my eyes are beautiful. I just think they’re human. And I don’t think I have to be beautiful all of the time in order to be accepted and loved and successful. I don’t think every small detail of my outer appearance needs to be translated into prettiness.