#the “posing” and composition and him with her with instruments

[the-technorats]

emo cowboy

[twomiddlefingersforthehaters]

Masashi Kishimoto Naruto Art Book (part-6)

This is a piece where I was able to really show Naruto's personality in his pose and expression. I'm super pleased that I managed to draw something truly Narutoesque. The tension in the arrangement of Kakashi and Obito is also great. It isn't often that the entire composition works this well, so it's my favorite.

It was fun drawing all of them as kids. I really like the contrast of adult Obito and child Obito facing different directions, indicating that his path and focus changed.

I like this one a lot, because you can really feel Nine Tails' immense size and Naruto's mischievousness. I had fun drawing it because of the visual gimmick. I had forgotten that if you look closely, you can see Kakashi, Sakura and Sai.

Enough people told me this was good that I started thinking so myself... Yeah. (LOL) But it was nice to illustrate a scene of family life, particularly because I didn't have many opportunities to draw something like that.

I thought that Naruto was still too young to wear banana hammocks, so I ended up with this. When I actually tried to draw it, it creeped me out. Making Sakura wear a bikini was kind of embarrassing, so I opted for the shorts for her too.

I drew this picture of Naruto, Kakashi and Sakura lined up to show how much each of them have grown

This picture of Sasuke appeared as part of a composition for a Shonen Jump front cover alongside images of Naruto and Gaara. Due to space considerations, I ended up drawing Sasuke in a long, vertical pose. One problem here was whether or not the sword Sasuke's holding would fit in the scabbard--- I remember I had to carefully measure the length of both the sword and the scabbard. Also, the picture appeared somewhat plain alter coloring it, so I made Sasuke's sash red. Because of that detail, this may be a pretty rare picture of Sasuke.

Cherry blossoms in full bloom...it's springtime in Kanohagakure. My concept for this picture was the characters having a cherry blossom viewing party, so I gave them some objects to suggest that. Naruto has a drinking cup, Sasuke has a Japanese musical instrument, and Sakura has a bento box containing rice dumplings and other foods. Fun, lots of fun. Kakashi was...actually kind of a distraction in this one. But I felt bad for him and decided to leave him in (laugh). And I showed that there's a breeze by drawing the cherry blossom petals as if they are being blown. It feels good when I can make the wind blow in a picture.

I wanted to keep this picture looking like a pencil sketch. I lightly colored in the already fully shaded pencil drawing, I tested out a method of using two similar colors for each character's hair, skin and clothes, and another similar-toned pair of colors for the background. I tried to make the picture look three-dimensional by changing the level of contrast in these colors. I made one large mistake though I forgot to draw Ino's earrings (laugh).

Team Asuma was the main focus in this volume. It makes Naruto look like a side character...

[ljblueteak]

Richard Hamilton Swingeing London 67 poster and Beatles 68 poster

Text from Andrew Wilson's Swingeing London 67

The [Beatles] poster, described by Hamilton as a 'give-away' print, was the result of a fairly complex design process that took about two weeks to complete, with daily visits from Paul McCartney, the one Beatle who worked directly with Hamilton on the project and who had prior knowledge, through[Robert] Fraser, of Hamilton's work--he had earlier bought one of the Solomon R. Guggenheim (1965) screenprints from the 1966 exhibition of the series that he had helped hang.

This relationship gave Hamilton the freedom to develop his idea for the poster and the whole design project without interference from the other band members, Yoko Ono, or the record company.

The poster shows George Harrison, John Lennon, McCartney and Ringo Starr as distinct individuals. This is in sharp contrast to the individual John Kelly portraits, in which the similarities of pose, gaze, and lighting, conforming to the aesthetics of of a record company's publicity department, portray them as members of a band.

The seemingly casual pinboard aesthetic by which these informal photographs were arranged was determined primarily as a solution to crucial design issues (echoing his decision to order the collage for Swingeing London 67--poster as newspaper columns, with headline at top left).

The sheet had to be folded three times in order to be inserted into the square album sleeve, and this obliged Hamilton to approach it as 'a series of subsidiary compositions. The top right and left-hand square are front and back of the folder and and had to independently stand as well as be a double spread together. The bottom four squares can be read independently and as a group of four. They all mate together when opened up and used as wall decoration.'

The top left-hand panel is what is seen first, and it presents the songwriting duo of Lennon and McCartney. Lennon is shown in blue light, singing. The image has probably been taken from a television screen, and the attendant distortion and blue glow are unflattering.

The image of Lennon overlays the bottom right corner of an equally unusual portrait of McCartney in a bathtub, his head half submerged, soapy suds giving him a halo. Running beneath the two portraits is a fabricated contact strip that includes an image of Lennon in front of one of his wall drawings; the band in a recording session...in which they are, unusually, playing brass instruments; and a colour image from the recording of 'Hey Jude' (1968).

This sense of fragmentation, of hidden codes and messages, echoes both the 'guarded privacy and locked rooms' and the 'disturbing, dreamlike darkness' that have been identified in the album, inviting the fan to imagine the band members' private worlds, and hinting at the beginning of the band's disintegration.

The dominant image of the poster's top right panel, opposite Lennon and McCartney, is of George Harrison. This portrait casts him in a mystical, otherworldly and contemplative light, with the right side of his face obscured and out of focus....

There are very few collective photographs of the band: playing in recording sessions or in filmed concerts; with Harold Wilson after they had each received the MBE; and a sequence of them doing the 'business' as they re-sign their contract with EMI.

Instead, the poster emphasizes the individual activities of John, Paul, George and Ringo around the time of the collage. Starr is shown with his co-star from the film Candy (1968), Ewa Aulin, and also dancing with Liz Taylor (wife of his other co-star in the film, Richard Burton). Lennon is shown becoming the working-class hero. Yoko Ono appears just twice: in a self-portrait by Lennon of the naked couple, and in an image of a naked Lennon sitting cross-legged in bed talking on the phone, as its stretched cord cuts her out-of-focus head in two--cancelling her identity.

Of the band, it is McCartney who emerges as the poster's dominant figure. Hamilton has said how The Beatles contains 'arcane touches which only The Beatles' more intimate associates were likely to smile at,' and yet such details--such as the doubled image of a shut door or McCartney 'pole dancing' both naked and clothed--are not at the cost of the poster's legibility. At its centre is the reverse of a photograph, a gift to one of the band, bearing a lipstick imprint and a groupie's imploring words: 'I love you.'

In all this, Hamilton's fundamental aim for The Beatles was that it should reach a large audience and be as accessible as the cover design was remote. This was not a new subject for Hamilton. My Marilyn had already adopted, three years earlier, the motif of the publicity photograph and the manipulation of celebrity image as a subject. What is different here is Hamilton's direct participation in popular culture: The Beatles, like Swingeing London 67--poster, shows him not only constructing work with a subject that revolves around the manipulation and production of pop celebrity imagery, but also inserting these works into the mass circulation of popular culture.

--Andrew Wilson. Bold mine.

[fearsmagazine]

DANCING VILLAGE: THE CURSE BEGINS - Review

DISTRIBUTOR: Lionsgate

SYNOPSIS: In an effort to alleviate her mother's ailment, a shaman advises Mila to return a mystical bracelet called the Kawaturih to the "Dancing Village," a secluded location on the easternmost tip of Java Island. Mila is accompanied on her quest by her cousin, Yuda, and his friends Jito and Arya. Upon arriving at the village, they discover that the village elder has passed away, and the new guardian, Mbah Buyut, is absent. During their wait for Buyut's return, they witness a series of strange and eerie events. One of them includes Mila being visited by Badarawuhi, an enigmatic mythical entity who governs the village. Mila is persuaded to complete her mission of returning the Kawaturih, but doing so poses a threat to the village's safety. When Mbah Buyut finally returns, she is convinced to participate in the village's ritual to choose the new "Dawuh," a cursed soul condemned to dance for the remainder of her life.

REVIEW: DANCING VILLAGE: THE CURSE BEGINS is a prequel to the 2022 movie “KKN Di Desa Penari,” which holds the distinction of being the highest-grossing Indonesian film ever made. As a noteworthy achievement, this film stands out as the first IMAX production ever created within Southeast Asia. In 2024, it will become one of only five films worldwide to be made for IMAX. The film's aesthetic appeal is undeniable, boasting a lavish color palette and visually stunning cinematography.

Lele Laila's screenplay is a standalone tale that does not require viewers to have seen the previous film, "KKN in Dancer's Village." It harmonizes family legacy, modern characters encountering an idyllic community, clashing belief systems, and magical realism, while also incorporating traditional narrative structures such as a hero's journey. The screenplay is refreshing in its portrayal of a different and unique culture, making it accessible to international viewers. The story revolves around a matriarchal society where the male characters, with the exception of the shaman, are powerless against the mystical. The dancing in the story is notably sensual without being sexual, and the interactions between Mila, her cousin, and his friends exude an innocence reminiscent of characters from classic children's literature. The plot takes several twists and turns, which are gradually explained as the story unfolds. There are survivors, and the village remains, leaving open the possibility of a return to the "Dancing Village."

The special effects were remarkably simple yet effective, reminiscent of the classic “smoke and mirrors”movie magic. One notable scene is set in a bathhouse where Badarawuhi terrorizes Mila, a terrifying atmosphere created with minimal effects. The costumes ranged from basic to vibrant and intricate, adding to the film’s overall aesthetic and mood.

Ricky Leonard, a skilled composer, combines traditional Indonesian instruments, refined movements, and a rich sound design to create a multifaceted score. The composition seamlessly complements the film's ambiance, heightening the tension and suspense in a subtle yet effective manner.

The film boasts a stellar ensemble cast. Maudy Effrosina, portraying Mila, exudes a captivating blend of innocence and determination as she navigates complex emotions amidst supernatural forces. Actress Aulia Sarah's portrayal of Badarawuhi brings to life a terrifying seductress who embodies the essence of her character's totem—snakes. Diding Boneng presents a compelling character as Mbah Buyut, the shaman. Surrounding him is an aura of intrigue, as he undergoes a transformation akin to Clark Kent's transition into Superman when called upon to take action. Claresta Taufan Kusumarina portrays Ratih, a local girl who provides lodging for Mila and her friends. Claresta infuses her character with sympathy and emotional complexity. Mila's companions, played by Jourdy Pranata, Ardit Erwandha, and M. Iqbal Sulaiman, deliver eclectic performances that are both likable and vulnerable in the face of the supernatural elements.

Indonesia's “DANCING VILLAGE: THE CURSE BEGINS" is a captivating horror thriller that stands out for its enchanting and unsettling atmosphere. Skillfully crafted with beautiful visuals, the story blends magical elements with real-world locations, impressive performances, intricate production design, and an evocative score. Director Kimo Stamboel masterfully balances the chilling horror with a touch of innocence, creating a fairy tale-like quality that sets this film apart. The mythology presented in the film is unique and compelling, leaving viewers eager to explore the first installment, "KKN Di Desa Penari," and anticipate future installments or genre films from these talented filmmakers.

CAST: Aulia Sarah, Maudy Effrosina, Jourdy Pranata, Moh. Iqbal Sulaiman, Ardit Erwandha, Claresta Taufan, Diding Boneng, Aming Sugandhi, Dinda Kanyadewi, Pipien Putri, Maryam Supraba, Bimasena, Putri Permata, Baiq Vania Estiningtyas Sagita and Baiq Nathania Elvaretta. CREW: Director - Kimo Stamboel; Screenplay - Lele Laila; Producer - Manoj Punjabi; Cinematographer - Patrick Tashadian; Score - Ricky Leonard; Editor - Fachrun Daud; Art Direction - Wencislaus; Costume Designer - Darwita K. Karin; Visual Effects Supervisors - Dedi Bagja, Budi Setiawan and Riza Thohariansyah; Choreographer - Elly D. Luthan. OFFICIAL: N.A. FACEBOOK: www.facebook.com/KKNMovie/ TWITTER: twitter.com/KKNMovie INSTAGRAM: www.instagram.com/kknmovie/ TRAILER: https://youtu.be/sakd51VpIrQ?si=GBEsXxtk_HjQzcfX RELEASE DATE: In select theaters in the US on Friday, April 26th, 2024

**Until we can all head back into the theaters our “COVID Reel Value” will be similar to how you rate a film on digital platforms - 👍 (Like), 👌 (It’s just okay), or 👎 (Dislike)

Reviewed by Joseph B Mauceri

[constellationsgods]

"so he in hope and she in terror ran" (1.744)

Image: "Jupiter and Io," (Photograph by NASA, Composite by Jason Major)

On the first day of class, Professor Hamlin posed a thorny question: What is love, if such a thing exists at all? Our class dug into the weeds, debating concepts of "love at first sight" and "love is blind," contemplating matters of passion and desire, empathy and respect. We all professed to believe in love, and our definitions of love gravitated toward an idealistic notion of True Romance: one in which partners incline to each other principally for personality and not for appearance, in which passion persists into old age (or the appetite for sex somehow diminishes with time), and in which both partners work earnestly and selflessly to maintain the relationship. It's a wonderful notion, True Romance, but I question whether it's a practical definition of love. Is love not extremely messy? Is the world not saturated with popular music whose lyrics depict toxic love and disgruntled, tortured, confused lovers? Our class did, in fact, acknowledge certain complications: we agreed that one can love terrible people and that sometimes love may go unrequited. And yet we—not just our class but the world at large—seek to divorce love from its juvenile cousins of infatuation and desire. Love is different from merely "liking" another, we reason: Love is mature, cultivated over time, predicated on mutual respect and consent. It's selfless. In Book I of Metamorphoses, Ovid presents a vision of love that is not only selfish, but violent and cruel and carnal. "but I am stalking you because of love!" Apollo declares (1.701), in rabid pursuit of Daphne, as she runs for dear life. Jupiter butchers the good name of love even further: after raping Io, he transforms her into a cow to conceal her from Juno. When she sees through the disguise, however, and demands that Jove gift her the heifer, his love is no match for self-preservation: "Love surely would have triumphed over shame, / except that to deny so slight a gift / to one who was his wife and sister both / would make it seem that this was no mere cow!" (1.861-864). Juno then takes Io captive, placing her under the inescapable watch of Argus, the hundred-eyed giant, while Jove gets off scot-free—how very caring and romantic of him!

Image: Apollo and Daphne (Waterhouse, Oil on canvas, 1908)

These twisted loves take us to interesting conclusions: After Daphne transforms into a tree, Apollo remains committed. "Although you cannot be my bride, . . . / you will assuredly be my own tree" (1.769-770). And when Syrinx transforms into a musical instrument to escape Pan's pursuit, he decides to treasure her anyhow: "At least I can have that much" (1.981-982). Jove, disturbed by Io's suffering (which is ironic, considering that he is the one responsible for it), comes to her rescue, pleading with Juno to restore her from her bovine captivity.

And with her [Callisto's] groans and tears and mournful mooing, entreated Jove, it seemed, to put an end to her great suffering. Jove threw his arms around the neck of Juno in embrace, imploring her to end this punishment. (1.1012-1016)

Notably, Jove only forfeits his claim on Io and acquiesces to Juno after losing all power in the situation. Despite his selfishness, however, Jove goes to desperate lengths to restore Io, which, for better or worse, suggests something akin to love.

Far from mere physical desire, Ovid's depictions of love in Book 1 are both unconditional and "blind"; if anything, the women's transformations into plants and animals and objects—literal dehumanization—only fuel the flames of passion. In other words, their love only grows stronger after the women lose their human bodies and, thus, their sexuality. Do their passions stem from genuine concern for the women's welfare? Or are they grieving over the loss of sexuality? It's unclear.

In the Metamorphoses, then, love is a force of volatile, unquantifiable emotion—and its effects can be terrible and terrifying. Under the guise of love, abusers use physical force to pull the object of their affection into orbit, as did Jupiter with Io. Such twisted loves are not always predicated on a carnal desire for human flesh; Apollo and Pan only become more possessive when their loved ones transform into non-human bodies. We might argue these were not examples of "true love"—but then, what is?

Image Credits

"Jupiter and Io." NASA/JPL-Caltech/SSI/Cassini Imaging Team/Jason Major, https://www.flickr.com/photos/lightsinthedark/32133984327.

Waterhouse, John William. Apollo and Daphne. 1908. Wikimedia Commons, https://commons.wikimedia.org/wiki/File:Apollo_and_Daphne_waterhouse.jpg.

[krispyweiss]

Jennifer Hartswick at Levitt Pavilion, Dayton, Ohio, Aug. 30, 2024

The music flowed like a long, winding river of sound, alternately cascading and riffling across American rock ’n’ roll, blues, funk, jazz and soul music on a hot-and-humid night that Tennessee resident Jennifer Hartswick said “is like winter” for someone living in the South.

“This is beautiful,” she said from the stage of the Levitt Pavilion where the Trey Anastasio Band singer and trumpeter and her rock-solid, three-piece band played a free, 80-minute show for several hundred who gathered Aug. 30 in the 90-degree heat of a late-summer day.

A huge fan was on stage to attempt to keep the players cool in the sweltering atmosphere of downtown Dayton, Ohio.

Though Hartswick and guitarist Nick Cassarino both struggled to keep their instruments in tune in the steamy, early-evening air, they and the rhythm section of Nate Edgar (bass) and Conor Elmes (drums) did not struggle in taking listeners on a sonic tour of American music. Hartswick is an engaging frontwoman, a powerful vocalist and a horn section unto herself, but Cassarino was the on-stage energizer, rocking a man bun, engaging with his bandmates, making exaggerated guitar faces, striking rock-star poses and playing solos that matched his animated stage presence, which cracked up the rest of the band and riled up concertgoers all evening long.

So when Hartswick ceded the stage for him - “You can thank me later,” she said - to lead the band through B.B. King’s “How Blue Can You Get,” she also proved herself a benevolent and intelligent bandleader. Cassarino tore the Levitt to shreds, belting like an authentic bluesman and responding to Hartswick’s trumpet solo with a six-string ripper that found him stalking the front of the stage, getting on his tiptoes and generally taking control of the concert for 10 minutes.

“Remember when I said ‘You can thank me later?’ It’s later,” a beaming Hartswick said as many in the brown grass of the parched lawn stood and applauded the guitarist and band.

The balance of the show found Hartswick choosing songs from a master list and blending originals like the strutting “You Can’t Take it Back” and the lengthy “By the River,” which gave space for each instrumentalist to solo, with barn-busting covers such as Ray Charles’ “Drown in My Own Tears.” It was on these homages that Hartswick and the band shone most brightly, out of reverence and/or because of the quality of the compositions.

“Free concerts in the park are, like, my favorite thing,” Hartswick said early in the evening between sips of water. “It’s like a lost art.”

Grade card: Jennifer Hartswick at Levitt Pavilion - 8/30/24 - B

See more photos on Sound Bites’ Facebook page.

8/31/24

[blujaydoodles]

artist asks: 4, 11, 12!!

4. Fav character/subject that's a bitch to draw?

God I was gonna say 'weirdly, Juniper' because I really struggle with tall/ skinny body proportions and for whatever reason I just can't get get her face right half the time but THEN I remembered what a pain it is trying to draw Nyssa every single time aaahah :'D She's-- so-- the thing about Nyssa is that she was literally designed to be self-indulgent for me to draw, in theory, but it turns out in practice that's less the case than I expected? like... oh I'll make a satyr oc cause I love satyrs :3 [goat legs are HARD to pose and even HARDER to attach nicely to a human waist to begin with! what on EARTH are horns from literally any angle!] I like drawing bodies and hate drawing clothes, good thing satyrs are naked lil heathens :3 [I don't actually know how to draw boobs?? oops???]

A bitch to draw for somewhat similar reasons is Tsakesh, who is a delightful boi and has a very visually appealing design to me, and I'd probably draw him a lot more if he wasn't a cat man oTL

Approaching from a different angle, another answer would be Small characters interacting with medium sized creatures/ an environment designed for medium sized creatures. Like in theory that's part of the fun of small creatures, but in practice I'm really bad at composition, and trying to get everyone's faces in the image at the same time when one person is barely half the height of the other is a huge pain in the ass, actually, lmao. But it's so fun when it works!

11. Do you listen to anything while drawing? If so, what?

YES, and-- it depends! Often it's mbmbam, or my big catch-all 'songs I like singing along with' playlist, which is 1) the default music I listen to and b) The Playlist for workin on Projects, but doesn't always fit drawing. Usually I can draw while listening to stuff with words, but when I can't I have an instrumental playlist called 'Coloring Time' that I originally made for my kids when I taught a drawing class that's almost entirely comprised of chill video game overworld music, so I have something to listen to that's background engaging without being distracting. I ALSO! have instrumental playlists for Melliwyk, Juniper, and Elyss, and sometimes when I'm drawing one of them I'll put her playlist on at the same time (especially Mel's because it's just delightful anyway, and tbh pretty rarely Elyss's because a lot of hers is really melancholy :'D)

12. Easiest part of body to draw?

👉👈 will y'all promise not to be mad if I say hands

ask me artist questions? :3

[night-unfurls-its-splendour]

Bridgerton & Selective Justification: A Rant

With a Particular Aside in Which This Author Questions if There Isn't a Double Standard at Play in Televised Historical Fiction.

Ok so the other day i posted complaining about how ludicrous the "Will Daphne marry Prince Friedrich?!" Plotline is to me and i referred to Daphne as a "commoner". I got two comments on that post of people saying Daphne *isn't* a commoner because she's a Viscount's daughter. I did respond but I'd like to go a little more in depth into it my thoughts on why this plotline verges on abject silliness to me, based on my (i will freely admit) *limited* knowledge of British aristocracy and the source material itself.

So if anyone reading this has a more detailed knowledge of the Peerage and how it relates to Bridgerton please correct me I'm eager to know more.

So to start out my understanding of the pecking order goes like this:

DUKE/DUCHESS = Highest ranking title in the peerage. Often bestowed on important members of the Royal family not in direct line for the throne. Worth noting is the fact that a Duke in British peerage is different than a Continental Duke. On the European Continent title Duke/Grand Duke can be associated with sovereign rule of an independent state, which has never been the case in England. Dukes and Duchesses are addressed as "Your Grace"

MARQUESS/MARCHIONESS = English equivalent of Marquis/Marquise. Very high ranking in the peerage, closely related to Earldom, but more important  since it has it's roots as the title of border (marcher) lords instrumental in a country's defense.  

EARL/COUNTESS = Referred to as a "count" everywhere else. The difference is the heavy germano-scandinavian influence on early medieval England. "Earl" is derived from the Nordic term for what could be considered a chieftan. Earls being only slightly lower in rank than a Marquess could be very rich and very important. The Earldom of Northumberland was one of the richest in 16th century England.

Now at this point we start to get into the lower peerage.

VISCOUNT/VISCOUNTESS = Addressed as "The Right Honourable". Viscountsies in England tend to almost exclusively be secondary titles held by Marequesses and Earls and passed down to their sons. Any son of a Marquess or Earl is a Viscount. The oldest son inherits the title of Earl plus all subsequent lands estates and incomes. The younger sons could also be viscounts wherever there are titles enough.

BARON/BARONESS = lowest rank of the peerage.

BARONET/BARONETESS = The only British title that doesn't land you in the peerage, the rank of baronet is (as I have heard it described) the barnacle on the bottom of the British aristocracy. It's basically a weird limbo between a Lord and a Knight that was invented by King James I in 1611 primarily as a way to jack up taxes so tbh its kind of a joke.

So Daphne's brother Anthony is a Viscount. He inherited this title from his father which likely means that their father was a second son. As you can see from this ranking list I just did, in marrying Simon, Daph married up. Way up. Not unsusual, given that her family has money and is well regarded.

Now clearly Bridgerton works differently than ACTUAL Regency England. Here, APPARENTLY if you just make a good impression on the Queen she takes a VERY PERSONAL interest in your life and she will marry you off to whatever Foreign prince she's related to who happens to be visiting. But here's where it's a bit wooly for me because there are two different contexts for the term "commoner" in England.  I think we all pretty well know how the European Royal marriage market  worked up through the 19th century, since we all like to make fun of them being inbred. Because there's a bit of a hang up not just about "Royal blood" but also Diplomatic marriage.

In the context of people with titles or peerages being nobles/aristocrats and any one without being a commoner then of course, Daphne is a noble. HOWEVER the context in which I used it in my previous post was ROYALS vs NOT ROYALS. It's perfectly acceptable to refer to someone not of Royal Blood as a commoner. In my replies I used Elizabeth Woodville as an example of a commoner. Now she DID marry a royal (Edward IV) and of course this was a few hundred years before Bridgerton would be BUT EVERYONE thought Edward was crazy for marrying her and she was not well liked because she was seen as at worst a gold-digger and at best an upstart. It was not only an uneven match but a purely domestic one which cut of England from potentially politically critical strategic foreign marriages. This is how royalty worked.

Naturally the strategic aspect of marriages was *slightly* diminished in the nineteenth century, but not really and it was still considered extremely important. Usually a young royal looking to get married was doing so at their family's behest and had a pre-determined pool they more or less HAD to choose from. Marriage to commoners of course  DID happen. It was called "Morganatic Marriage". Prince Augustus of Prussia had a morganatic marriage to a Polish aristocrat. One of Charlotte's own sons, Augustus Fredrick, had TWO morganatic marriages which kept him away from court because his wife could not be recognised due to their having married in defiance of the Royal Marriages Act of 1772, which requires all members of the  British Royal family to obtain the monarch's consent before marrying.

So I posed the very realistic question of "how would this choice to marry Daphne affect the Prince?" I don't know how morganatic marriages were looked on based on Prussian law but it seems likely, especially since Prince Friedrich is the direct heir that this marriage would have caused problems and i find it doubtful that Daphne would ever find herself addressed as "Princess".

I know that Bridgerton is fiction and that in being fiction it is pardoned  for not following courses that would be realistic in actual history. But at what point does "it's fiction" become an excuse for sloppy execution of world building?

The show takes the time to explain to the viewer (in one of the precious few moments of actual exposition) why there are black aristocrats [because the king married a black woman and things changed - which JUST IN CASE anyone is wondering, no Charlotte of Mecklenburg-Strelitz was not in any meaningful way "bi-racial" irl, based on the research I've done.] With this kind of deviation from history in a Drama that does, without any official caveats in the marketing, claim to be set in England in 1813, the writers recognised that this needed to be qualified. And in qualifying it, they justify it. They take it beyond fiction into fantasy, but it is justified.

The reason they recognised it had to be justified is because they know that most of the viewers know this is not how it went in history and would hold them to account. So why isn't more care taken to qualify the Liberties taken with the REST of Recency Society?

They talk repeatedly about "Coming Out" into society, particularly regarding Eloise. And Eloise wears her hair down and wears shorter skirts because she's still considered a child because she isn't out. But the IMPORTANT, PRACTICAL parts of not being "Out" are COMPLETELY IGNORED. She and her younger siblings are OUT at SOCIETY EVENTS. CONSTANTLY. Eloise speaks when not spoken to. She speaks DIRECTLY TO THE FOPPING QUEEN (TO WHOM SHE'S NEVER BEEN PRESENTED, BUT I GUESS IF YOU'RE DaPhNe BRiDgErToN's sister you can do whatever you want). There are BABIES at BALLS in this show. For a story that's trying to sell you on the Strrrrrrictures of RRRegency Societeh they're TOTALLY NOT INCLUDING MOST OF THOSE STRICTURES except when the plot demands it.

Why, I ask, is this? Perhaps it is pure ignorance on the writers part. They don't qualify it because they don't know rules like this existed. In which case its just bad, sloppy writing.

OR

They do know about it and ignore it and don't bother to qualify it with a "Oh Daphne a match with Prince Friedrich is so advantageous how marvellous Prussia has recently accepted Morganatic Marriage ahahaha" because they think we a) don't know or b) don't care and ITS STILL SLOPPY WRITING. Which hey, most Bridgerton fans who swallow any swill where hot people catch feelings probably don't care, but that doesn't mean its not careless writing and it doesn't make it NOT condescending. Never write DOWN to your audience.

This show approaches (but by a hair's breadth doesn't reach) REIGN levels of bad in terms of historicity. And the writers of Reign, like the writers of Bridgerton never claimed to be making an authentic representation of history. But perhaps it's because BTon only has 2 actual historical figures (one of whom is SO UNRECOGNIZABLE from her historical counterpart in countenance and personality that they might as well have just made a composite character - "How much can you change a thing before it isn't that thing anymore?") Or perhaps it's the inclusivity shield  but it seems like Bridgerton is getting a lot more leniency than Reign did.

The pass I see given to Bridgerton is "its frothy fun" (and yeah okay these costumes are worlds more realistic to the claimed period than Reign was even with the jacked up, flat bustlines) BUT. SO. WAS. REIGN.

I don't even like Reign but I do think there's a double standard here and I would like to know why.

[doomedandstoned]

Lowen Return with Stunning EP, ‘Unceasing Lamentations’

~By Reek of STOOM~

Art by Hervé Scott Flament

London-based Doomters LOWEN return with an incredible, stripped back-to-bare-bones release next month. "Unceasing Lamentations" consists of 3 evocative, alluring tracks based on ancient Middle Eastern texts and highlighting Nina Saeidi's incredible vocal talent.

First track, "The Exalted One Who Walketh" shimmers with the arid heat of the desert, vocals soaring, plaintive and mesmerising, like a melding of Ofra Haza and Diamanda Galas, backed throughout by Shem Lucas' soulful Oud-style playing. Indeed, the lone vocal combo stretches across all three tracks, bringing a sultry and beguiling presence as powerful and majestic as the heaviest Doom out there.

Lowen have encountered many issues over the last 12 months, and this EP has been cathartic, heartfelt and deeply reconnecting with their roots. A Triumph!

I spoke with both Nina and Shem and posed some questions about the last year and their new release, out June 4th.

The new EP is obviously an accumulation of recent trials and tribulations for the band. How have you coped with such an acrimonious split?

Shem: It was a difficult situation but the core of the band has always been Nina and myself. The music is about her background and Lowen is a vehicle to explore that and always has been. Anyone that is unable or unwilling to accept that simply does not have a place within the band. There are many wonderful musicians that have approached us eager to work with us and that has been very touching.

Nina: As Shem said, it was a very difficult and sad situation that shocked us to our cores when it happened. The extreme nature of having a racially motivated hate crime directed at me by our ex-drummer has in a way allowed us to view it as a clean break from which we can move on without looking back. Shem and I have felt so much more positive and driven now that we can plan and write completely new material together and look to a much brighter future.

The support from our friends and fans in the immediate aftermath was really touching and we are so excited to work with some insanely talented new musicians this summer!

LISTEN: Unceasing Lamentations by Lowen

I'm also assuming that lockdown has played a part in the stripped-back sound? To what extent has this process changed the way you look at and create Music now?

Shem: Unceasing Lamentations is a result of Nina being invited to perform on a Solo basis by the Brighton Doomsday collective as part of their efforts to raise funds to keep the Green Door Store venue in Brighton open in the face of the pandemic. We were so happy with the results that we decided to have Magnus Lindberg of Cult of Luna master the audio so that we could release it.

The songs don’t represent a new direction so much as a pivotal moment in time for the band, we’re still writing our next album to feature big distorted guitars, drums and bass, though I would say that it was wonderful to finally release something that was a lot more eastern in terms of musical composition. It’s a nice bridge between the first album and the resulting musical studies we have undertaken to bring our sound closer to what we both hear in our minds.

Nina: It was so freeing to be able to improvise and really embrace the more Iranian and Eastern aspects of our sound and influence. It’s something I’ve been pushing to do more since we released our first album and I am so excited that we will now be fully putting that into the second one. This EP is more of a captured moment where I expressed the anguish and longing that I was experiencing at the time.

Due to the improvisational aspect of the performance we went in with no plan at all. Apart from the lullaby what you hear are musical choices that were made in that very moment. It can magical to simply give up all control of a creative situation and see what the body spontaneously produces musically.

LISTEN: A Crypt in the Stars by Lowen

The lyrics were based on folk tales or Eastern myths. How did you come to choose them?

Nina: The lyrics for the first two songs are directly taken from cuneiform tablets. The Exalted One Who Walketh is an arrangement of transliterated lines taken from a Sumerian city destruction lamentation referred to as “e-lum didara”. Against Evil Done by the Serpent is a transliteration of Akkadian from a clay tablet that directed the tuning of an instrument through metaphoric comparisons between gods and each string.

I met with renown museo-archeologist Richard Dumbrill and talked with him for several hours on how the words may have been pronounced and sung in the context of ancient music and modern interpretation. Though we will never know how ancient music and language sounded, it is thought that some of it has been preserved in folk music of the areas in which it originated when it comes to the music of the Middle East.

The third song is an Iranian lullaby that embodies the sorrow of war and abandonment felt by many children during the Iran-Iraq war and is still sadly apt for many children in the Middle East today. The lullaby centres on a child who has experienced the trauma of war being comforted by a mother who promises that she will not abandon them as they tread dangerous ground even in their dreams.

I chose all these because I am deeply interested in the history of language and culture in the Middle East. It moves me that music and lyrics that are thousands of years old can be resurrected and performed once more in a context where the sorrows and joys of multiple cultures that were geographically close can be viewed millennia apart.

How is the new line-up going? Any major differences or effects on the dynamic?

Shem: Lowen has always revolved around Nina and myself, but Richard Stevenson (our live bass player) is still very much a part of the band. We have been approached by other musicians who would like to work with us and we are excited to move forward with an array of incredibly talented musicians.

Nina: Our dynamic is stronger than ever as Shem and I are able to write and move forward with much greater speed and productivity than before. We always wrote the music in the past, but now we feel that we are able to be a lot more free creatively.

We are so grateful that we have Richard Stevenson, our live bassist, with us for what will be a very exciting summer in terms of shows. He always brings amazing energy to the stage and has been a dedicated member and friend for years now.

Soon we will be able to reveal who we will have drumming for us live and we can’t wait.

You have always been vocal about political and social issues in the East. What are your hopes for the future?

Nina: My greatest hope will always be for peace. War and political savagery has felt never-ending in the Middle East, and much of it is because of interference and backing from non-Eastern countries that profit from terminal instability and conflict. For example, we’re currently seeing horrendous atrocities in the news with the state of Israel attacking and tearing apart even more innocent lives and I hope that those who are actively campaigning for ceasefire and recognition of what is truly happening in Gaza and Sheikh Jarrah succeed. I’d like to clarify that my criticism of the state of Israel is not tied in with Jewishness or the nature of Judaism, I think it’s important not to veer into anti-semitism and anti-muslim sentiment when noting political matters in Israel.

My personal hope is to be able to go and see my family, who live in other parts of the Middle East, without fear of arrest and execution. I would be overjoyed if women were able to sing in public again and for the LGBTQ+ community in Iran to live without fear of death and persecution.

Will you be planning a tour or appearances at any festivals in the coming year?

Shem: we’re very excited to begin performing live again, the performances prior to pandemic had begun to feature increasing intensity, so we can only imagine what a renewed and focussed line up will add to that, as well as the prospect of playing new material.

Nina: We have a few more shows to announce in what is already feeling like a packed few months of shows around the UK but I can’t say anything yet.

What was the last thing you had to kick to get working again?

Shem: there was nothing to kick per se, but the many many hours of study into eastern music, rhythm and maqam are certainly paying off and the music we are composing now is focussed and features many techniques and devices not widely seen within western music, there’s also a lot of double bass drum!

Nina: A few cobwebs and a couple of boxes in order to find my stage mic after so long.

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[amphibi-crew]

05 - Hop Luck

Writing

“Hop Luck was a script that Matt and I wrote when Amphibia was still in development. The story originally had the title Passing the Ladle, and was told from Sprig’s POV. Later, when we moved the script from development to production, we realized it would be better to tell it from Anne’s POV, so we could show her becoming a more integral part of the Plantar family. 

When we wrote the first version of it, Matt and I had only been working together for a relatively short time. TVA had decided to move development to a new office space, so Matt and I were forced to share a smallish office. Neither of us minded, and in fact, I think it was instrumental in forging the strong creative relationship we share today. At one point in the process, we were literally passing the keyboard back and forth. We were having fun, trying to surprise each other and make each other laugh. (For example, Matt’s pretty ambivalent about pineapple pizza, but he wrote the bit in part because he knew my opinion on it was… less ambivalent. I can’t help it. I’m from New Haven.)

 I love this story – the character moments, the jokes, the killer tomato plant – but this script will always be special to me because it represents when I went from thinking my creative relationship with Matt was going to work, to knowing for certain it would.”

- Story Editor & Coproducer, Jack Ferraiolo

Storyboards

This episode was storyboarded by Kyler Spears and Kat Marusik.  It was their first board on the show and they did an amazing job together.  A little fun fact about this episode is that the first couple of pages were used as our storyboard test.  Since this episode was boarded after our board team was assembled, it’s almost as if Kyler and Kat provided the official “answer” to the test!  The following is an excerpt of two of the episode’s most memorable moments: the pizza joke and the introduction of Maddie Flour.

   Character & Prop Design

There are some lovely special poses in this episode done by Joe Sparrow.  I love when we can push Anne’s face in cartoony ways even though she’s the least stretchy of the main characters.  Them being frogs and all.  Maddie as a character is someone who existed all the way back in development but I really like how she turned out in the actual series.  Her clothespin hair tie is especially cute to me.  Colors by Daniaelle Simonson and Carol Wyatt.  Props by Andy Gonsalves.  

Background Design

There’s some really nice work here by Amanda Winterstein and Phillip Vose in Maddie’s bakery.  The flour is caked on in a really appealing way and I love all the little details in the background.  A bread baked in the shape of a spider is muah *chef’s kiss*!

I also want to draw special attention to the painting of the tomato plant’s throat.  Phillip Vose has such a dynamic process where he’ll often rough out his composition in color - and then go back and tie down the b/w bg before sitting down and painting it for real.  For him, the process of bg design and paint are often combined.

Rough:

Final:

That’s all for now!  See you next week for one of my favorite season 1 episodes: “Stakeout!”

- Matt Braly

[virtuosin]

"Why do you perform?" Jhin leans against the vanity of her dressing room, masked in his showman's attire. The gun twirls in his hand, as casually as a paintbrush. "For the love of a show? For a virtuous world? I've listened to your performance, and I'm afraid I'm not impressed."

Ah, a critic with a gun. There is alarm in her heart, as any prey caught in the predator’s trap would have, but the maven remains calm as he monologues. Better to keep poise and not have the situation escalate. Under most circumstances, Sona would have dispatched the threat with her beloved etwahl--as she has many times with Mageseekers--but something gave her pause. For what reason might this man be possessed into conversation while proudly flaunting a weapon? There was a message she needed to interpret here, but given how little information she had on the masked figure, it would take time to draw those conclusions. “Why does any artist create?” A question posed back to the man who so informally uses her private area as his domain. Boldly, she would pace in the center of the room, as if she were exchanging pleasantries with a relative. There was fear in her heart, but she vowed to control it. Only then might it save her life, if the time comes to it. “We create in order to spark change...to elevate the minds of those around us so that they may experience what they ordinarily cannot.” Hands would delicately gesture to and fro, languid as trembling branches in a delicate breeze. Cerulean gaze remains pointed on that ivory visage, creating a connection between them. Would the telepathy deter him? She found it tedious to conceal her magic at this point, given the situation at hand. Signing for the sake of deceit hardly suited her needs right now. The etwahl had been nestled not far from the ominous stranger, resting idly on its stand. Though, idly had been the wrong word--it was being restrained by the maven’s force of will. The moment required delicacy, and if her beloved instrument was at liberty to do as it wished then a fight would surely erupt. For the sake of...whatever civility was taking place, Sona would ensure her etwahl remained silent still. For now. “Tell me,” She calls out suddenly, coming to an abrupt halt in the center of the room, hands lacing together before her. The mark of a noble with such graceful mannerisms as those. Inclining her chin, she continues regarding the man. “You say you are not impressed...what was your take on my performance, exactly? Surely it’s not a tedious task for you to recount your displeasure if you’re here. Was it too mundane, or perhaps redundant in its repetitious melody? Or-” A pause, one that allows those cerulean orbs to focus in on that ivory. “I wonder if it’s too compelling in emotion for you to grasp quite yet. My orchestrations have that effect on certain individuals. I capitalize on matters of the heart in my compositions...it’s possible that you are not the target audience.”

[aethelfleds]

Victims of the Childbed - Elizabeth of York, Queen of England

Often referred to as the daughter, sister, niece, wife, and mother of a king. Elizabeth of York was the first Tudor queen of England. Her influence was quiet but always present, and her sudden death left a king and country bereft. 

Much, much more below the cut: 

       From the moment of her birth, Elizabeth of York was enveloped in a large and, unusually so for the era, close knit royal family. She was named after her mother, the beautiful Queen Elizabeth Woodville. Her father, Edward IV of England, was a giant of a man both in person and persona. Edward had won the English crown five years prior to Elizabeth’s birth and would fight to retain it throughout her childhood. Princess Elizabeth was one of the first children born into a new generation of the House of York. She was the firstborn of the new king and his consort and though the birth of a son had been predicted, she was still welcomed by her parents and doted on at their merry court. Edward IV’s account book for 1466, the year of Elizabeth’s arrival, records the purchase of a jeweled ornament “against the time of the birth of our most dear daughter Elizabeth.”

       The young Elizabeth was soon followed by two sisters, Mary and Cecily. In addition, the princesses also had two elder half-brothers, Thomas and Richard Grey, born of Elizabeth Woodville’s first marriage. Queen Elizabeth preferred to keep her children near her at court, as well as members of her own large family. As a result, Elizabeth of York enjoyed the close company of her siblings and Woodville relations for the rest of her life.

       It was the influence of the Woodville family at court and their involvement in politics which contributed to a boiling over of tensions between Edward IV and his cousin and adviser Richard Neville, Earl of Warwick, who allied himself with Edward’s brother George, Duke of Clarence. Warwick and Clarence rebelled against Edward, forcing him to flee into exile on the continent. The rebellion claimed the lives of four-year-old Elizabeth’s maternal grandfather and uncle, Richard and John Woodville, who were executed by Warwick. The rebellion would be the little princess’s first experience with the traumatic and deeply personal world of politics in late medieval England. Queen Elizabeth took her children into sanctuary at Westminster Abbey, where she gave birth to Elizabeth’s brother Edward, the future ill-fated Edward V. This would not be the only time Princess Elizabeth would find herself in sanctuary at the Abbey during uncertain times.

Edward IV’s restoration to power in the spring of 1471 also restored domestic peace for a time. He brought his family out of sanctuary and Elizabeth of York re-assumed her place as “Elysabeth the Kyngys Dowther.”

       Elizabeth of York was well educated. She became fluent in both English and French and could perhaps write better than was expected for noblewomen of her day. Her maternal family, the Woodvilles, were a literary bunch. Books were shared among Elizabeth, her siblings, cousins, aunts, and uncles. King Edward maintained an impressive library and often purchased new volumes and illuminated manuscripts to add to his collection, which his daughter no doubt enjoyed perusing. As well as an appreciation for the written (and newly printed, thanks to Caxton and his press, which her family avidly supported) word, Princess Elizabeth also cultivated a love of music and dancing. She learned to play several instruments and is recorded dancing with her father as early as the age of six. Elizabeth would pass on this passion for musical persuits to her children, namely her son Henry VIII, whose own compositions are still known today.

       By 1480, Elizabeth was the eldest of ten royal children, eight of whom survived infancy. In addition to her two half-brothers, Elizabeth’s parents kept quite a brood. For the most part, Elizabeth’s childhood had been a happy one, but her early adulthood would prove to be very different. On April 9, 1483, Edward IV died suddenly, leaving his twelve-year-old son as King Edward V. The boy’s youth was potentially dangerous, as Queen Dowager Elizabeth was well aware, as were her enemies. Distrust was rampant among the rival factions at court and conflict soon erupted as it often did in 15th century England. Princess Elizabeth’s uncle, Edward IV’s youngest brother Richard, Duke of Gloucester, took control of the boy king from Sir Anthony Woodville. The Queen Dowager acted decisively and once again fled to the sanctuary of Westminster Abbey with her daughters and remaining son, Prince Richard, who was soon taken to the Tower of London with his brother.

       Elizabeth, now seventeen, stayed in sanctuary with her mother for almost a year, her future prospects dwindling. During that time her remaining family received one tragic blow after another. Richard of Gloucester seized control over the realm. Both the young Edward V and Prince Richard were locked away in the Tower and soon disappeared altogether, their fate an enduring mystery. Gloucester executed Elizabeth’s beloved uncle, Anthony Woodville and her brother Richard Grey. To fully consolidate his power, Gloucester declared the children of Edward IV by Elizabeth Woodville illegitimate. Princess Elizabeth was now traumatized and bastardized with little hope for what lay ahead.

       In early 1484, however, the new King Richard III persuaded the Queen Dowager to allow Elizabeth to return to court. Elizabeth and her sister Cecily joined the household of Queen Anne Neville. Her life doubtlessly improved once she was away from the bleak seclusion of Westminster. Eighteen-year-old Elizabeth was one of the greatest beauties at Richard’s court, and soon rumors were circulating that the king intended to wed his lovely and charming niece. Queen Anne’s declining health and subsequent death only increased the suspicion surrounding Elizabeth and Richard’s relationship. Richard was eventually obliged to send Elizabeth to Sheriff Hutton Castle in Yorkshire along with Cecily and their cousins Margaret and Edward, Earl of Warwick, the children of the Duke of Clarence. Elizabeth’s thoughts on her uncle, the fate of her brothers, or indeed most of the momentous events of her life are often speculated but still remain quite unknown.

The subject of Elizabeth’s marriage had been controversial for some time at this point. Her hand was promised several times for various political expedient reasons. At the age of nine she was formally betrothed to the Dauphin of France and was called “Madame la Dauphine” in her adolescence. But the betrothal was broken by a rather slippery King of France not long before Edward IV’s death.

       Following Richard’s declaration of her illegitimacy, the potential for a glittering match seemed dim. But Elizabeth Woodville had allied herself with Margaret Beaufort and together, using a physician as a messenger, the two ladies would work towards supplanting Richard. Margaret’s son Henry Tudor, nephew of the late Henry VI, had spent half of his life in exile as the last Lancastrian heir. Aside from Richard III, according to the laws of primogeniture, Elizabeth of York was the Yorkist heir to Edward IV in the absence of her brothers. A union between the two would perhaps remedy the rift between the two houses made by the Wars of the Roses, at least partially satisfying both sides.

      While Elizabeth was residing at Sheriff Hutton, Henry Tudor landed in England and met Richard’s army at Bosworth Field on August 22, 1485. The battle’s end found Richard III dead and Henry with the English crown. He had won his right in battle, but Henry Tudor’s claim to the throne was rather shaky. He was a descendant of Edward III only through his mother, Lady Margaret Beaufort, through the bastard line of John of Gaunt. Elizabeth of York, though still legally bastardized herself, also descended from Edward III, but through a legitimate male line. Thus it seemed that Henry Tudor would need her to lend stability to his throne, though he would forever fight to conceal it. Henry was crowned Henry VII on October 30, 1485 and immediately set about establishing his authority in his own right. England was an uncertain nation in need of stability, but that was difficult to achieve with so many Yorkist claimants and their adherents at large.

       The generation of Yorkists to which Elizabeth belonged was largely female, and for the next decade Henry would neutralize the threat they posed through marriage. Elizabeth of York, as the eldest surviving child of Edward IV, was regarded by many to be the rightful heir to his throne. Certainly no one expected Elizabeth to be queen regnant of England; the country was still not ready for such a concept. Once Henry Tudor was crowned and his first Parliament opened, Elizabeth’s legitimacy was reestablished. Finally, with the proper papal dispensation in acquired, Henry and Elizabeth were formally betrothed.

       Elizabeth of York became Queen of England when she married Henry VII on January 18, 1486. It has been suggested that Henry put off the marriage as long as possible to establish his rule in his own right without seeming to have accepted help from Elizabeth. Regardless, she would bring his reign stability that he could not have gained on his own. As queen, Elizabeth is not known to have taken an active role in political matters. She had been brought up to play the traditional role of a consort, which she did perfectly. Her kindness, generosity, and gracious nature were renowned. She was also known for her beauty, golden hair, and fine figure. She surrounded herself with her dearest relatives, most of whom were well provided for in her lifetime.

       The relationship between Elizabeth of York and Henry VII has been popularly portrayed as a love match. It was a marriage of political necessity which over time seems to have grown into a partnership of mutual respect and affection. Henry’s accounts show him buying small gifts and trinkets for his wife, and Elizabeth’s show that she undertook tasks such as sewing Henry’s garter mantle when she was not required to do so herself. There were still political aspects to the marriage. Elizabeth never had the financial independence enjoyed by most consorts, possibly because Henry never entirely got over an innate distrust of all things Yorkist.

      Elizabeth’s influence on the world of Tudor aesthetics that has fascinated many for five centuries may have been greater than previously assumed. Tudor pageantry was impressive, outlandish, and extravagant. The pageant stages, disguisings, and masques were inspired by Burgundian entertainments. Who had more experience with this style of revelry than she who had grown up at the center of a court heavily influenced by the court of Burgundy? From her infancy, Elizabeth would have been familiar with Burgundian style due to her own heritage through her maternal grandmother, Jacquetta of Luxembourg. The pageantry Elizabeth so enjoyed became a hallmark of Tudor entertainment. Tudor architecture, too, is thought to have some touch of Burgundian influence. Elizabeth of York is documented as being involved in at least the rebuilding of Greenwich Palace, a distinctly Tudor royal residence.

       The marriage of Elizabeth of York and Henry VII was certainly successful in regard to their offspring. Elizabeth gave birth to their first child, a son and heir, only eight months after their wedding in 1486 (leading to speculation of consummation before the public wedding ceremony). The prince was christened Arthur and was greeted with national rejoicing. Princess Margaret followed three years later in 1489. Prince Henry and Princess Elizabeth, who died at the age of three, were born in 1491 and 1492. Another daughter, Mary, was born in 1496. Elizabeth may have given birth to a short lived boy named Edward, or this could be a confusion with Prince Edmund, who died in infancy.

       Elizabeth of York, like her own mother, was devoted to her children. As the heir to the throne, Prince Arthur was set apart from his siblings with his own household and rigorous education. The younger children lived near their parents at Eltham Palace, where they were frequently visited by their mother. Elizabeth doted on her fair daughters and boisterous son Henry, who took after his grandfather, Edward IV.

       Prince Arthur was married to Katherine of Aragon in November 1501 in a lavish ceremony. The teenage couple was sent to Wales to hold court as the future king and queen of England. Their future and the succession seemed secure until an unforeseen disaster occurred. On April 2, 1502, only five months into his marriage, the fifteen-year-old Prince Arthur suddenly died, possibly of the sweating sickness. Elizabeth and Henry grieved the loss of their son both as monarchs and as parents. But Elizabeth attempted to console her husband by reminding them that they still had a healthy son and were still young enough to have more children. They were indeed young enough to produce another heir to secure the Tudor Dynasty, and Elizabeth became pregnant with her seventh child soon afterwards. The queen spent the remainder of 1502 mourning her son and traveling in England and Wales. She experienced some health issue, but it is not known if it was pregnancy related.

       Elizabeth of York gave birth to her last child, a daughter, at the Tower of London on February 2, 1503. This baby may have been premature, as Elizabeth had not withdrawn from court to take to her chamber in preparation of the birth. In fact, she had traveled from Richmond to London only a week prior to the birth. For her previous births, Elizabeth had observed the rituals and preparations laid out by Margaret Beaufort in her ordinances for royal births. For this birth it seems almost nothing had been prepared, and one chronicle claims Elizabeth had intended to give birth at Richmond. Instead she delivered her daughter at the Tower of London. While the baby princess was quickly baptized Katherine, her mother became ill. Elizabeth had contracted childbed fever, or puerperal fever and was not strong enough to fight off the infection. She succumbed to her illness and died on February 11, 1503, her thirty-seventh birthday. Princess Katherine had died the day before.

       The royal family and country were plunged into grief. Elizabeth was given a funeral fit for a queen. Henry VII was much altered by the loss of his wife and two children in under one year. The illuminated manuscript Vaux Passional contains an illustration of Elizabeth’s bereft family. A rather sullen Henry VII is shown wearing the blue robes of royal mourning. The princesses Margaret and Mary wear black veils. Most moving of all is the image of eleven-year-old Prince Henry weeping on his mother’s empty bed. King Henry never dismissed Elizabeth’s court minstrels and continued to pay them until his death in 1509.

       Elizabeth of York was all but canonized in death. She was remembered as “one of the most gracious and best beloved princesses in the world in her time being.” She was the silent guiding hand behind Henry VII, the first Tudor queen from whom descended the next four Tudor monarchs as well as the Stuarts. Elizabeth of York also left her mark through the red-gold hair she passed on to her son Henry VIII and granddaughters, Mary and Elizabeth, queens regnant of England.

Arlene Naylor Okerlund, “Elizabeth of York”

Kavita Mudan Finn, “The Last Plantagenet Consorts: Gender, Genealogy, and Historiography, 1440-1627”

[impressivepress]

Exhibition Henri Matisse, le laboratoire intérieur

Throughout the artist’s life (1869-1954), drawing was a core discipline for Henri Matisse, for which he used a wide range of media (pencil, charcoal and stump, pen and ink, quill and brush ...) and supports (sheets from sketchpads, margins of letters, or fine art paper).

This continuous practice in the privacy of his studio was the laboratory for his work as a painter and for his sculpture – Matisse often compared himself to a juggler or an acrobat, daily maintaining the flexibility of his instrument of work. Matisse’s drawings surround, precede, accompany and extend other artistic forms in his oeuvre and also reveal themselves as independent constellations.

The exhibition illustrates the main moments in this artistic journey, arranged in fourteen thematic and chronological sequences: from the apprenticeship years at the very start of the 20th century, through to the studies for the chapel of the Rosary in Vence (1948-1949), the final masterpiece and culmination of an entire lifetime for Matisse. The suggested path identifies the pivotal points in Matisse’s approach to drawing – from the black of ink or pencil to the modulated white of paper, from the softness of smudged shadows to the light emanating from the final brush drawings, in relation to his experiments with colour in his painting or his work on volume in his sculptures. In the exhibition, each room offers a dialogue between drawings and paintings, etchings and sculptures, with works echoing each other and restoring something of the atmosphere of his various studios: Quai Saint Michel, in Paris from 1894, Issy-les-Moulineaux from 1909, Nice from 1918 until his death in 1954, with the exception of 1943-1948 which Matisse spent in Vence.

Learn. Unlearn

Henri Matisse is twenty-one years old when he goes to train in Paris. He attends evening classes at the École des Arts Décoratifs and at the École Nationale des beaux-arts, in particular in Gustave Moreau’s studio where he rubs shoulders with Albert Marquet and Georges Rouault. He was to stay there from 1892 to 1898, six years during which he works in the studio and assiduously visits the Louvre, where he copies the old masters, including Vermeer, Chardin and Raphaël. Copying gives him an occasional income until 1904, but is above all an essential exercise in the mastery of his craft. In addition to these figures from the past, he is hugely influenced by the great artists of his time, Paul Cézanne and Auguste Rodin, who help him formulate his own pictorial language. While Matisse had always assumed an artistic affinity with the old masters, in 1898 he casts off the weight of the past and escapes from it in all the genres he pursues: the self-portrait, landscapes from nature, or working from life with a model. In the early days, his work appears to be a long journey; he works from the major artists of the past and also with his contemporaries - he admires and challenges by copying, reworking and constantly questioning. And finally he unlearns from the masters.

The grammar of poses

In Matisse’s work, the period from 1904 to 1908 is generally associated with the advent of pure colour. During the summer of 1905, the artist worked in this direction, in the company of André Derain, at Collioure. It was in this mythical place that, under their impetus, fauvism was invented – a founding moment of modernity where colour ceases to bear any reference to local colour, where people and objects are indicated by signs, and where volumes and models are absorbed by the coloured surface. Thus, in La Japonaise: Woman beside the Water, colour and line, figure and decorative background become interchangeable, to the extent that they dissolve in a single movement. This apotheosis of colour is however intimately connected to drawing. These two skills feed the manifestly fauvist canvas The Joy of Life (1905-1906, Philadelphia, The Barnes Foundation), its genesis being evoked by a coloured landscape sketch and numerous drawings. The artist develops a repertoire of poses which he uses constantly throughout his oeuvre. In parallel to the paintings from this period, he also works on a group of three woodcuts, plus a set of small ink drawings. Here too, Matisse delves into his grammar of poses, exploring the ability of the black line to modulate the white surface and thereby give it a luminous, almost “coloured” quality.

A motionless dance

From 1906, Matisse concentrates more on the human figure and develops his creative process, alternating painting sessions with life drawing and sculptures. An overall logic unites these various media around the same conceptual approach to form. Pairs, or even series, can thus be organised around the major sculptures from this period. While Two Négresses reveals the artist’s attraction to African sculpture, they also reflect his interest in the theme of the back which he was to explore both in drawings and in paintings. It was again at the heart of the series of monumental sculptures, Back I, II and III, produced from 1909 to 1917 in step with the drawing-sculpture-painting chain focussing on this subject matter. Designed to be looked at from all angles, other sculptures from this period testify once again to Matisse’s interest in the plastic form of the back. This reflects – in Decorative Figure – a quest for monumentality and – with The Serpentine which was produced after The Dance I (New York, The Museum of Modern Art). In this continuity, a series of drawings is produced, centred on the theme of the issue of spatial expansion originating from the representation of a static figure - a motionless dance.

From portrait to face

Only late on does Matisse express his long-held interest in the “human face”. However, particularly between 1910 and 1917, he is encouraged by a group of fervent lovers of Byzantine art and disciples of philosopher Henri Bergson, who found the principles of a non-representative aesthetic in his art and sought to rethink the links between reality and perception. Matisse then embarks on a journey to develop and to get to the essential, reworking this specific theme in depth. In the portrait of Yvonne Landsberg, in 1914, in the drawing portraits of Eva Mudocci and Josette Gris in 1915, in that of Greta Prozor in 1916, or of George Besson in 1918, Matisse does not flinch from deconstructing and then recomposing his models’ faces, striping them right to the bone, producing unsettling works, often beyond the comprehension of their sponsors. He relies on the subtle use of different drawing methods, a practice he was subsequently to develop further and to theorise thirty years later, in his “Notes of a Painter on his Drawing”. Indeed, in the constellations of drawings and prints associated with the portraits from the period 1914-1916, a cinematography of snapshots already co-exists with a part of informed elaboration. It is thus in and by painting that Matisse finally accesses the spiritual truth of his models.

Trees and oranges

In the preface to the catalogue for the Matisse Picasso exhibition held at the Paul Guillaume gallery in Paris in 1918, Guillaume Apollinaire writes: “If one were to compare the work of Henri Matisse to something, one would have to choose an orange. Like an orange, Henri Matisse’s work is the fruit of dazzling light.” A recurring element which prevails, throughout his oeuvre, as a major subject in his compositions, orange is not a simple motif, which plastic possibilities Matisse explores: it is a real testing ground where the artist confronts the tensions in himself. Present in his early compositions, the fruit reappears during Matisse’s first visit to Morocco in 1912. The artist, in a difficult position due to the rise of cubism and futurism which call into question his role as leader of the avant-garde, will then seek to rethink his art in the light of the artistic tradition of this country. This experiment allows Matisse to set himself apart from the development of the avant-garde to better prepare himself to face it. During the winter of 1915, he travels to L’Estaque, in the footsteps of Paul Cézanne and Georges Braque. There, he abandons the motif of the orange, preferring instead that of the tree, its relationships between forms and forces allowing him to question the vocabulary of cubism. This subject was to occupy him again through force of circumstance : in this period of uncertainty marked by the First World War, active contemplation of nature offers Matisse the resources he needs to regain his equilibrium.

The life-drawing session

In late 1916, Matisse embarks on a new working method, a daily face-to-face, repeated for months and sometimes years, almost exclusively with one model, an Italian called Laurette. A professional model, paid by the hour, she poses for close to a year for around forty canvases, and particularly powerful charcoal drawings. Following the rupture marked by his move to Nice, where Matisse reconnects with the human figure, and during the whole of 1919, the young Antoinette Arnoud replaces Laurette. She inspires a remarkable series of drawings, sometimes worked in great detail, sometimes more elliptical, that Matisse decides to put together in an album published at his expense. Cinquante dessins par Henri-Matisse is objectively the first book composed by the artist, to the content and production of which he was completely committed. A demonstration of virtuosity, in an apparently classical mode, this album is however the contrary to a “return to order” – as Matisse’s period in Nice has often been described.

The odalisque form

Actress, musician and ballerina, Henriette Darricarrère becomes Matisse’s principal model from 1920 to 1927, her body alone incarnating the odalisque form. This word and this motif of odalisque, used by 18th and 19th century painters such as Boucher, Ingres and Delacroix, evoke the representation of nudes without sham mythologies, placed in an allusively oriental decor. In this tradition, Matisse inaugurates in 1921, with the Odalisque with Red Trousers (Paris, Musée national d’art moderne), a long series of works in which the odalisque is no longer a simple motif or an iconographic category, but a way of questioning the insertion of the figure in space. In his apartment, at 1, Place Charles Félix in Nice, Matisse even creates a bedroom like a theatre set, with a platform and decoration of fabrics and wall-hangings, to expose the nudity of the odalisque. Matisse examines the possible ways of achieving the tension of body and decor in various techniques – painting, sculpture, drawing and print – without establishing any hierarchy between them, but regarding them as joint methods of exploration. This series is part of the continuing personal quest of the Orient in relation to the decorative art, crystallised during this time of doubt and intense anguish, the Nice period, during which Matisse seeks to renew his approach by following the lessons of the old masters.

Metamorphoses. Nymph and satyr

Matisse develops the theme of the satyr charming a sleeping nymph, in parallel to that of dance, starting from his fauvist years with The Joy of Life (1905-1906). He reconnects with this motif in the illustration of “The afternoon of a satyr” for the Poems of Mallarmé published in 1932 by Albert Skira, which he creates in parallel to The Dance, a mural for the Barnes Foundation in Philadelphia (United States). Between May and June 1935, he re-engages with this subject once again, producing a series of charcoal sketches, the chronology of which is difficult to ascertain, as Matisse changed and reworked them constantly. Starting from a fairly traditional iconography of the satyr, the artist then stylises this figure, neglecting his traditional attributes (horns and goat’s hooves), to focus on the expressive lines of the body. In these compositions, he was to discover the memory of the work he had started the previous year, on illustrations for James Joyce’s Ulysses, for which he turned to Homer’s Odyssey. These elements reappear in the canvas Nymph in the Forest (Greenery), started in 1935 and pursued tirelessly through to the early 1940’s. Its variations around a single motif and its constant metamorphoses testify to the Matisse’s creative process, who stated: “At each stage, I have a balance, a conclusion. In the next session, if I find that there is a weakness in the entire work, I re-enter myself to my painting via this weakness – I enter via the breach – and I redesign the whole thing.”

The artist and his model, Lydia

A young Russian recently arrived in Nice, Lydia Delectorskaya is initially employed by Matisse as a studio assistant in 1930, while he is working on The Dance for the Barnes Foundation. Although she sits for the artist once in 1934, she really only becomes his model in the following year. In The Dream, he shows her in what is to be his favourite pose, her head resting on her crossed arms surrendered to the gaze. This canvas is Lydia’s inauguration into Matisse’s painting, to which she was to be intimately bound for the rest of his life. In the same period, he develops a series of enormously sensual line life drawings of her, in which he returns to the theme of the “painter and his model” and develops the deconstruction approaches started at the beginning of the century. The presence of a mirror in the composition allows the reflection of the model and the hints of the artist’s presence to be mixed in a continuum of lines, which he explores until 1937. It is at this time that Lydia poses again for a major canvas, Large Blue Dress and Mimosas, in which Matisse paints with relish the dress and the ruffles in a set of drawings seeking harmony between pose and facial expression.

The Romanian blouse

Matisse’s close relationship with textiles, culminating in the Romanian blouse series in 1936-1940, seems to have been triggered by his birth into a family of weavers, and confirmed by his path through life : Le Cateau-Cambrésis, Saint-Quentin, Bohain – all towns centred on bobbin lace factories , wool and textile mills. When he arrives in Paris in 1891, he starts to collect fabrics, wall-hangings and rugs – which would feed and support his artistic creation. In parallel, he builds up a wardrobe for his models, one which grows throughout the 1930’s, containing numerous Romanian blouses, which become a favourite element in his graphic vocabulary. His long-held interest in this item of clothing seems to have grown from his contact with Theodor Pallady, a Romanian painter and former studio comrade of Gustave Moreau, but also from the presence of Lydia Delectorskaya, a young woman originally from Russia, who was to become his favourite model. During this period in which Matisse was seeking a simpler structural method, the graphical aspect of the Romanian blouse allows him to explore a work of purification, down to the expression of simple signs, capturing the character of his subject in the most succinct way. The culmination of Matisse’s interest in textiles, the “ Romanian blouses ” series, also occurs at the time when he embarks on a more general reflection on the decorative, starting from the study of specific motifs.

Cinematography. Themes and variations

In 1941 and 1942, Matisse concentrates on drawing. And he produces hundreds, a “flowering”, as he was to say, comprising series in which the initial drawing is a charcoal study of the developed motif. Other sheets of paper then evolve from this work, as if traced by a blind man, in a state of extreme concentration: “drawings in pen or pencil are like the perfumes emanating from this first master drawing.” He was to return to this approach, referring to “a cinematography of the feelings of an artist. A series of successive images resulting from the work on a given theme by the creator.” Matisse wanted to show this culmination, reconciling the two methods of drawing in a book, Themes and variations. The preface, written by Louis Aragon, is the fruit of an intense dialogue between the painter and the writer. Started in autumn 1941, continued in spring 1942, in the darkest days of the war, this dialogue was to go on in a regular correspondence and discussion, commented by Aragon in Henri Matisse roman, published in 1971. Interiors in Vence. Colours, black and white The season of Interiors in Vence, the final “flowering” of Matisse’s painting, starts in the spring of 1946 and ends two years later with Large Red Interior. This canvas sums up this dazzling series and makes reference to the Red Studio from 1911 (New York, The Museum of Modern Art). A double series in fact, in which strongly coloured canvases are accompanied by large brush-and-ink drawings, with the same motifs: interior (studio) / exterior (garden), nudes, ferns or pomegranates, and always palm trees. Palm trees fill the windows of villa Le Rêve in Vence, into which Matisse settles in June 1943, following the threat of the German occupation of his apartment and studio at the Hotel Régina and afteran air raid at Cimiez. Between painting and drawing, Matisse plays masterfully with black and colour, line and mark, the light of white and that of black. The entire series, exhibited in 1949 is received with great public acclaim, first in New York at his son Pierre Matisse’s gallery, then in Paris at the Musée National d’Art Moderne.

From face to mask

After Louis Aragon, Matisse subjects the faces of his grandchildren to the process of “Themes and variations”. Both adolescents, Claude Duthuit and Jackie Matisse meet their grandfather once again after the separation during the war, in 1945 and 1947 respectively. He drew studies of them in charcoal, extensively worked, followed by quick variations in line, arising from successive sensations and transcribed immediately, as well as simplified “faces”, still portraits yet already masks. They all need to be viewed in relation to these words by Matisse: “The face doesn’t lie: it is the mirror of the heart.”

Vence Chapel. Colour and light

The Vence Chapel of the Rosary project arose from Matisse’s meeting with Monique Bourgeois, a young nurse who cared for him following a major operation in 1941, before becoming his confidante and model. Having joined the order of the Dominicans of Vence in 1946, she tells Matisse in the following year of her plan to extend the chapel of their congregation. With the assistance of Brother Rayssiguier and Father Couturier, the artist produces an initial drawing which is approved by architects Auguste Perret and Louis Milon de Peillon. From 1948 to 1951, Matisse also designs the stained glass windows and the ceramic panels opposite them, as well as the liturgical ornaments. The Vence chapel project allows Matisse to design a space in its entirety and to produce a pictorial language which is a synthesis of his work. As the artist expressed it : “In the chapel, my main aim was to balance a surface of light and colour with a solid wall, with a black on white drawing. This chapel was for me the culmination of a whole lifetime’s work for which I was chosen by destiny at the end of my road, which I continue by my research, with the chapel giving me the opportunity to define it by uniting it.” As a whole, the various preparatory studies for the ceramic panels, stained glass windows and the door of the confessional testify to the long process resulting in Matisse’s final monumental project.

Henri Matisse and Lyon

In January 1941, Matisse’s health deteriorates and he is rushed to hospital, initially the Clinique Saint-Antoine in Nice, from where he is subsequently transferred to the Clinique du Parc in Lyon. There, in 1941, he undergoes an operation for duodenal cancer, carried out by Professor Santy assisted by Professors Wertheimer and Leriche. Matisse “miraculously” recovers from this procedure. He leaves hospital in April and convalesces at the Grand Nouvel Hôtel, rue Grolée in Lyon, before returning to Nice in May. During this period, he has many talks with art critic Pierre Courthion, about Lyon, a “city through and through” which is described as “consistent”. It is at this time that René Jullian, the director of the Musée des Beaux-Arts in Lyon, approaches Matisse in order to acquire one of his works. In 1943, the artist sends the museum a copy of his book Themes and Variations, accompanied by a series of six original drawings produced for the book. From this time until 1950, Matisse sends his illustrated works to the museum, including the album Jazz, each bearing an inscription to the Musée de Lyon. The culmination of this relationship was the purchase, after lengthy negotiations, by Jullian in 1947, of a painting by Matisse: the portrait of the Antiquarian Georges-Joseph Demotte. This collection of Matisse’s works at the museum was to grow further in 1993 by the addition of Young Woman in White, Red Background, from the Centre Pompidou to which it had been gifted by the artist’s son Pierre Matisse.

~ From 2 December 2016 to 6 March 2017.

[writersrealmbts]

Con Amore: Part 11

Bulletproof Melody Sequel

Description: Con Amore– A directive to a musician to perform a selected passage of a composition tenderly, with affectionate emotion, or in a loving manner; an instruction to the player of an instrument meaning ‘with love’ or ‘lovingly’. Three years with all seven of your loves, three years of relative peace. But now everything is threatened as darkness surges from the horizon.

Originally Posted: 12/15/2019

Tags: Superheroes, Ot7

Fluff/Angst: 2,166 words

A/N: A day after I said I would post it and almost three months after the last part, we’re at part eleven. Next part is interesting. I hope you like it. I’m just a little discouraged with this series and I’m getting stuck because there’s a lot of ends to weave in to finish this series.

You mulled over everything, making a couple notes about their plans while waiting for them to check in. They were checking the place that the tracker had traced back to.

“Tinny?”

“Here, you guys in?”

“Yeah, we’re done here. Raidho, Eihwaz, and Tiwaz are taking the equipment to another place to check it out. Sowilo and Laguz and I are going to try and pinpoint some of the people this was tracking. Raid is going to drop Mannaz back there.”

“Ok, be careful.” You sighed, feeling useless again. “Watch your six.”

“We will,” Tiwaz responded.

Raid appeared with Mannaz, quickly kissing you before teleporting away.

Jimin groaned and sat down, rubbing his legs.

You went over, rubbing his shoulders. “Usual pains?”

“Yeah. A little to the right.”

You shifted your ministrations to the right, feeling the muscle that was tense and carefully working at it. “Shifted to much?”

“Shifted into an elephant from a mouse,” He whimpered as your fingers found a knotted muscle.

“Oh, love,” You murmured sympathetically, kissing the top of his head. “You want me to draw a bath for you?”

He nodded slowly. “I think so.”

“Okay. Just wait here for a bit, I’ll get it all set up.” You pressed a gentle kiss to his lips. “You’ll have to avoid the drastic shifts while I’m gone unless absolutely necessary.”

He nodded again. “I’ll try.”

You nodded and went to draw the bath. You had to figure out a way to help them one last time before you went to the safe-house.

He came in while you were testing the water. “You okay?”

“Just…thinking.”

“Your phone rang, but it stopped after one ring.” He held it out to you, his voice gentle, as if sensing you were a little vulnerable. He sat next to you on the edge of the tub. “About this morning….”

You met his eyes, reaching up and brushing his hair from his eyes. “You were worried, I understand.”

“I know you do, but I still wanted to make sure we understand each other. I…I can’t stop worrying about you. And seeing this,” He pulled the photo from your appointment from his pocket. He had a watery smile as he looked at it. “The idea that this place, where you’re here with us, possibly being just as in danger as if we weren’t here….”

“We aren’t in danger here, well, no more than before you found out about me having an issue here. The only person who could pose a threat to us here doesn’t realize who I am yet. With me gone, it’s unlikely my past will be discovered.”

He sighed. “And the boys? What do you think their role is in all of this?”

Your mind went to a dozen different places, but settled in one place. One you didn’t want to bring up right now. “I’m not really sure. But I know that they’re important.”

“Are you packed?”

“I’m always packed. At least, nowadays I am.” You got up and turned off the water. “Do you need help?”

He nodded. “My shoulders are tight, too.”

You nodded in return and helped him take off his shirt, accepting the soft little kiss he pressed to your lips with a little glow of warmth and love in your chest. But you quickly helped him undress the rest of the way before leaving him to soak in the tub after the relieved sigh he let out after settling in. “I’ll check on you later.”

“Thanks, chubbs.”

You closed the door, then looked around the room, picking up pillows and making the bed a little neater. You weren’t sure which of the boys had slept in here, but you had your suspicions. You’d have to remind them to keep things tidy. You hugged a pillow and looked around at the strange walls as a wave of nausea came over you again. But this time it was the worry, that panic of having to leave the safety that came with the presence of your boys. Your loves.

You went back to the mission room, sitting with a pen and some paper to write a few things down for when you were gone. Your thoughts drifted as you tried to keep focused on the things you needed to remind them to do when you weren’t there, but instead found their way to your father.

You closed your eyes, trying to block the thoughts.

“There are three things you should always watch out for, my little hummingbird. Our job is a dangerous one. We gather things that people could misuse. We keep them locked away. Everyone will try to break in and get them,” He whispered as he wound the music box. He set it aside, the soft lullaby chiming, and wrapped you up tightly in his arms. “So there are three things you should always watch out for.”

You looked up at him sleepily, humming along with the lullaby that was playing.

“One, is coincidences. They don’t exist. So, if anything seems like one, you know it’s not. The second is those who use the guise of helping to hide their hunger for power. And the third,” He paused to yawn. “The third…third…”

Someone clucked reprovingly, but it was an amused sound as well.

Your mother gathered you up in her arms, kissing your forehead and humming along with you as your father fell into a deeper sleep. “The third, is the unbelievable. People with stars in their eyes, or wings on their backs. You will be an archivist, you will keep their secrets and provide them with the means to continue. You will see the most fantastical things, my love. And I hope we are always there to witness them with you.” She rubbed her nose against yours and you woke up in tears.

Worried eyes met yours as you focused on the person in front of you, the reason you woke up.

Jungkook gently brushed the tears from your cheek. “Y/n? Are you okay?”

“Just a dream,” You whispered.

“Pretty lullaby,” Taehyung murmured, laying on the floor and yawning.

You sucked on your lower lip for a moment, then realized Jungkook was looking at you with a sort of question in his eyes. You smiled a bit and leaned forward to kiss him before wrapping your arms around his neck.

He easily picked you up and carried you to the room you stayed in at night, then murmured he’d be right back.

You changed into pajamas and almost went to check on Jimin, but heard him telling Taehyung to get off the floor and left it alone since you also heard Namjoon with him.

Jungkook came in freshly showered and crawled into bed with you, laying on his side facing you and looking into your eyes. “Are you going to be okay? Alone with those kids?”

“I’ll survive. You still have the talisman.”

“Yeah. It’s safe. That’s just for the dangerous archives?”

“Mhmm, it’s mostly precautionary. I think they want Taehyun because he could tell them how to access the archives,” You whispered, then actually thought about what you were saying.

“Yoongi did say his powers were a little strange, but do you really think he might be able to tell them how to access the archives?”

“He can read the past. It’s entirely possible that he could find the answer to accessing them.”

He frowned in worry, then flinched as your phone starting ringing.

You stared at it, not moving to answer it.

The other boys heard it, poking their heads in.

Namjoon met your worried gaze, then nodded. “Put it on speaker.”

You hummed a protection song as you picked up the phone and answered. “Allo?”

“Ms. Y/L/N?”

“Yes, who is calling?” You spoke with a French accent, worried about who could be calling.

“My name is Gordon Sutcliffe, I’m calling on behalf of the Moorthes Museum of Art and Natural History. Our contact at St. Kishall Treaure Institute suggested we contact you regarding the verification of a collection of puzzle boxes from a private collector that we wish to display. The owner is claiming that they are the works of Jacqueline De Torrent,” The man on the other end of the line said, absolutely butchering her name.

“How many pieces in the collection?” You asked, suspicious.

“Five.”

You looked at Namjoon and shook your head. “Are you certain?”

“That’s what he is claiming, but we were hoping you would come in to verify that they actually are works of Jacqueline de Torrent.”

You cringed again. “I can tell you now that it is highly unlikely that whoever this collector is managed to acquire five pieces of Jacqueline Torrent de Cavalier. Before I make the trip, I do require photos to verify that this collection is real.”

“Of course, and the curator at St. Kishall’s gave us a general ballpark for your consultation fees.”

“I discuss price after I have agreed to consult. He gave you my email?”

“Uh, yes, miss.”

“Send the photos to that address and I’ll examine those, then tell you whether in-person verification is necessary or not. I need to see every side of the boxes. I’ll contact you further depending on my initial evaluation and we’ll discuss my fees then as well as times I am available.”

“Yes, of course—”

“Good day,” You said, then hung up.

They quickly surrounded you, Namjoon cupping your face in his hands.

“You’re trembling,” Yoongi murmured, taking your hand.

“Do you think that’s them?” Namjoon asked before pressing a kiss between your eyebrows.

“Of course, it’s too outrageous of a claim to be anything else,” You whispered.

“There’s no way you’re going. They must know who you are.” Jimin folded his arms, still partially supported by Taehyung.

“If I don’t go, it would confirm it,” You replied. “But I may be able to put it off for now—”

“No,” Seokjin said, his voice overpowering yours. Firm. He met Namjoon’s gaze. “There’s no such thing as coincidence. We should check it out. Even if it’s a trap. It might just give us the tools we need to beat these people.”

“Hyung, it could be dangerous!” Hoseok protested.

“Life is dangerous, Hoseok-ah. We’ll protect her as best we can, and she’s not exactly weak, either. She’s hidden for this long. We know they’re looking for all three of her identities, so maybe they don’t know. Yoongi and Taehyung can go with her to protect her, with Jungkook as backup. We make sure that even if they take her we can find her.” He met your gaze. “She’s safe-guarded the vaults, right?”

You nodded. “I did. I can’t reach the artifacts right now.”

“Then we give her a temporary power suppressors, and watch every move, and she evaluates the artifacts.”

“Power suppressors?” Taehyung squeaked.

“Just to mask my powers to any sensors. I’ll still have my powers, Tae. They just wouldn’t find out about them, not easily.” You stepped over to reassure him, kissing his lips to help calm him. “Not actual power suppressors.”

He nodded, a tiny shock jumped between the two of you. His eyes widened. “Will that hurt you? Oh my God, the baby? I’m sorry! I didn’t mean to—”

“It’s fine, Tae. It was little more than a static shock. I’ll be fine.” You brushed his hair from his face. “And…I agree with Jin. I think we may need to take the risk.”

Jimin growled, obviously against the idea.

Hoseok wrapped his arms around you. It was his baby, and you knew that even if he was fine sharing that with the boys, he still thought of that as his. He had been carefully avoiding being overprotective, but you knew this was a little more than he could handle. Especially since he’d been preparing himself to part with you. “If she’s doing that, then I’m going to be with her. Taehyung can be by her side, but I’m on standby.”

“Okay,” Namjoon finally said. “If she needs to go, then we’ll make sure to have multiple contingencies.”

Jimin let a high-pitched sound escape him.

Taehyung, Yoongi, and Jungkook seemed equally uneasy about the whole thing.

“Are you sure, Namjoon?” Yoongi asked quietly.

Namjoon nodded sharply, face grim, chin jutting out stubbornly. “We need some sort of advantage. She can’t tell them where those boys are because the safehouse is in a location unknown to her as well. We’ll be there to protect her.”

You nodded. “I trust you all.” You looked to Tae. “You’ll be by my side, right?”

He nodded, straightening his shoulders a bit. “I’ll have to take the suppressants too?”

You nodded again, looking at the faces of all of the men you loved. “Last mission before I go.”

They all huddled in closer, settling in for at least one hand touching you.

You rested a hand over your stomach, hoping your baby knew how many wonderful people would love them.

~~~~

Part 10.   Part 12.

Masterlist.  ~  Series Masterpost.  

[shivanatarajablog]

Transcript & additional notes

This bronze statue at the oriental museum dates to c. 1800 ce; but the figure’s origins trace back much further. This statue depicts Lord Shiva, in his form as Nataraja, meaning Lord of the Dance. Shiva is one of the three pantheons of Hinduism, together with Brahma (insert img), the creator and Vishnu, the preserver (insert img).  Shiva is the destroyer. However, these three deities represent different avatars of the same divine substance. In fact, Shiva here (back to img) dances the cosmic dance of destruction and creation.  

The deity of Shiva seems to have emerged from the Vedic deity Rudra (insert img & date) who represents the destructive forces of nature. Ancient Hymns of Rig Veda and Atharva Veda point to his dual ascetic and ithyphallic aspects; now associated to Shiva, and enabling a later worship of Shiva in the linga form. (insert img) The linga is a phallic form of Shiva which is most commonly venerated in temples, a symbol of unrealised potential and creative, fertile forces. Puja, or worship is performed by pouring milk or ghee over the linga.

These destructive forces remain integral to his figure. (back to img). In the 9th and 10th century Shiva is depicted as the Lord of Destruction in a morbid way. He dances at cremation grounds. (insert img) It is thought that these are the roots of his later Nataraja depiction.  The flames which embrace the composition radially recall a funeral pyre;(zoom) and the skull in his hair is reminiscent of its remnants (zoom) The drum he holds gives rhythm to his dance (zoom). One of the most famous statues of Shiva Nataraja is in Chidambaram, (insert img) and it is thought that this town was was close to a cremation ground. However, Shiva’s history is complex and mysterious, and the temple at  Chidambaram is home to many of these mysteries.It is still a very famous site, known for having Shiva in his Nataraja form as opposed to just his linga form. Nataraja in Chidambaram remains the most sacred of his presentations. (insert img) The icon literally embodies the deity’s living presence. Every morning he is awakened, bathed, offered meals, and throughout the day is entertained and delighted via dance and music. He is put to sleep in the evening. During the festival of Margayi Tiruvadirai, the winter solstice, Nataraja is taken out on a chariot for a procession (insert img). It is likely, due to the size of the statue at the Oriental museum, that it too was venerated in a temple, and perhaps carried out in processions.

The statue at Chidambaram  points to other possible origins of Nataraja’s iconography. Nataraja is also associated to Kotravai (insert img), a goddess of war who dances in the carnage of battlefields. His dance thus, is not just of death, but of victory. His victorious qualities emerge from two myths. The first, is the myth of the pine forest. (insert img) After the death of his wife, Sarti, Shiva goes to the Daru forest with the intention to live with rishis (sages), whilst he is mourning her death. He comes to this forest as a naked, ithyphallic, handsome beggar, Bhikshatana. He is sexually irresistible to the wives of the rishis, who become interested in Shiva. The rishis feel humiliated and retaliate by sending various weapons. He easily overcomes all of them and turns them into trophies by either wearing them or dancing over them;  (back to img) these are: the drum in his right hand (zoom), the fire in his left hand (zoom), the skull on the crown on his head (zoom).the demon, apasmara, which he treads on. (zoom)  The snake which wraps around his body ( zoom). He bears the scratches of a tiger in the form of stripes on the garment around his waist. (zoom) (back to img). He dances with such furious joy that the dance takes on a cosmic dimension, thus encompassing into itself all of creation. This dance enlightens the sages. At Shiva’s urging, they worship him in his abstract form, the linga.

The second myth to emerge was that two sages residing in Chidambaram, after knowing of the performance of this dance, yearn to see it. Shiva Nataraja agrees to perform the cosmic dance there and only there, thus marking Chidambaram as the core of the psychic universe. However, resident goddess, Tillai Amman resents Shiva’s decision and challenges him to a dance competition. Shiva wins by raising his leg above his hip in the urdhva janu pose (insert img). As a woman, and as a virginal goddess, she cannot perform this move without compromising her modesty. She is thus defeated and cedes the temple to Shiva.

(back to img) It is theorised that the popularisation of this triumphal icon was due to the Chola dynasty Kings desire to assimilate themselves to his victorious aspects, as they expanded their rule all throughout India. Nataraja served as a god of conquest, brandishing the priests’ failed weapons similarly to how Kings exhibited looted goods from their enemies.

Nataraja thus dances both in death and in triumph; but what remains clear is the  profound quality of this work beyond its morbid and martial implications. Perhaps this is why he has remained such a prevalent symbol until the present day. Another undeniable factor is the figure’s beauty. His form is taken from the guidance of ancient manuscripts, the Shilpa Shastras, on divine measurements for sculpture.  For example,  Shiva’s eyes are shaped like almonds, and his arms ‘long like stalks of bamboo’, his face ‘round like the moon’; and a (insert img) radial geometric composition underlies it all, exalting its cosmic symbolism, which I will now elucidate.  

(back to img) This statue conveys first principle of creation according the Hindu account of genesis - that at first, there was sound. This is represented through the drum, or damaru, that Shiva holds in his upper right hand (zoom). The drum tunes the act of creation and measures the passage of time. his front right arm is raised in the gesture of abhaya mudra meaning, “fear not, those who follow my path of righteousness will  have my blessing” (zoom) . The fire, agni, which he holds in his upper left hand, represents destruction (zoom).  The ring of fire (back to img) represents the perpetual cosmic cycles of the universe. His long matted tresses alternate flower garlands, which stream outward the ring of fire, showing his omnipresence throughout the universe. He tramples apasmara, (zoom) representing the dispelling of ego and ignorance. (back to img) His dance destroys the universe but also the bonds of every soul, freeing them from their egos and deeds. He embodies the tension of dynamic action and balanced stillness. His is a dance of furious bliss, but his expression is one of calm contemplation. Physicists today describe this as the dance of subatomic matter. In the words of Aldous Huxley… (insert clip)

Notes:

This was my final transcript. It is similar to a storyboard, in that while and after I wrote it I inserted directions for when I wanted a certain image. I then compiled a bullet point list of images that I wanted to include in my podcast. These were the following:

-Triad of Brahma, Vishnu, Shiva - Shiva in all his poses - Img of Rudra deity - Shiva linga - Shiva dancing at cremation grounds - Temple of Chidambaram - Shiva at Chidambaram - Shiva in procession - Img of Kotravai - Illustration of pine forest myth - Shiva in urdhva janu pose - Radial Yantra

I initially looked at the Oriental Museum collection online to see if I could find any of these images there, and indeed I found that of Brahma, Vishnu and Shiva. I also found one of the linga, but there were other gods in the image as well (the image I found in a previous post), so I thought it might make it confusing.

I then encountered a few difficulties. I found no images of Rudra, if not for one with a pitiful quality. The same applied to the illustration of the pine forest myth. I also just did not find an image of Shiva dancing at cremation grounds. I don’t know why I thought I could find an image of Shiva’s statue at Chidambaram, given the fact that you’re not allowed to photograph it (since it is the living embodiment of the deity). I was however, successful in my remaining pursuits.

I found that the way I structured my transcript made it easy for me to edit. I did however, have immense difficulties in recording myself reading it. Every time there was a problem, and at first I was trying to record it all in one go as when I listened to sample podcasts one of the main things that struck me was the abrupt change from one section of a voice over to the next. I quickly accepted my fate, however, as I realised I was utterly incapable of reading a page of words without stumbling over my words, being interrupted by some kind of noise, or sounding dead inside when listening back to it. I thus decided to record in parts, which was significantly easier. 

I then wanted to choose some music, and an artist I had been listening to recently was Anoushka Shankar. She is a Bengali sitar player and composer, trained in classical Indian music, although she was born in the UK. I thought her identity perfectly embodied this project - and Indian object in an English museum. The songs I chose, Flight and Maya, I thought were beautiful, soft instrumental tracks that would not overpower me speaking. Fortunately for me, the change between the two songs, from a mellower, more melancholy tone to a more upbeat one happens when I start to narrate the myths, which I feel helped the transition to a lighter-hearted ‘storytelling’. 

[ichigopanhpff]

BNHA Fic: Blink! Ch. 16

Read Ch. 15 | Masterlist

SPOILER ALERT: I’m sure S4 will at least cover the U.A. School Festival Arc before ending it. You’ve been warned!

With the Hassaikai incident behind them, the day to days at U.A. lulled on. But today was an exciting day: Snipe-sensei announced the school’s annual culture festival and wanted everyone to brainstorm ideas. The usual tropes of a maid café and haunted house had already been thrown out there, much to everyone’s excitement and chagrin. The period went on with a few more scattered ideas left and right from students until the bell chimed.

“We’ve narrowed it down these three categories and will discuss more back at the dorms tonight,” 2-A’s class rep, Miyake, stated before letting everyone head out. “Takahiro, be sure to stop by before going back to the first years.”

“Got it, Class Rep,” she replied with a mock salute.

As the three girls made their way down, she passed by some third years from the General Education department grumbling about the first years in the hero department’s live music show and how conceited they were because they were doing it for “them.” Ren and Seri couldn’t help but stop in their steps to glare at the two who walked passed.

“What are you looking at?” the black haired girl stared with disdain before walking off.

Ren gritted her teeth, trying her best to hold back her rage. Seri clapped a firm hand on her shoulder, making her look straight at her owl friend.

“They’re not worth it,” Seri remarked. “They don’t understand.”

Letting out a hard breath through her nose, she followed the rest of her class to the 2-A dorms. The discussion went well into the early evening and finally decided on something completely unique and exciting. All was left was to make the reservation for the gym and then the real work will start. Ren walked back and stretched her arms upward, groaning aloud. Feeling the chill set in, she bundled herself into her uniform jacket and sped walked the rest of the way back.

She opened the door to welcome the warmth to defrost her bones, only to see a crowd and heard someone’s strong and sultry singing voice.

“It’s unanimous!” Everyone shouted. “Jiro’s gonna sing!”

The R.A. smiled to herself as she removed her outside shoes to place into her locker before entering the common room to greet the class.

“Welcome back, Ren-senpai!” Ochaco warmly acknowledged. “Did your class decide on what you’re gonna do?”

“We’re doing a Cirque du Soleil inspired performance.”

“We don’t know what that is but it sounds exciting!” the girls cheered.

Ren looked around the room and saw a bunch of instruments scattered around. At the far end, Tokoyami could be heard strumming a guitar that captivated those nearby.

“Whoa, Tokoyami! You play?!”

“I had to free myself from the F-chord first,” he lamented.

“Sweet Les Paul,” Ren commented with her eyes sparkling in excitement. “And you got it in the classic sunburst color too. Nice.”

“Senpai, you play too?” Jiro enquired.

“Well… I dabbled. I’m more of a bassist, really,” she sheepishly replied and suddenly found an electric blue Explorer guitar in her hands.

“I wanna hear your sound!” the purple haired girl exclaimed. “Please!”

Sucking in a breath, she placed the strap around her shoulder and made small adjustments so it fit in her hands. The instrument was heavier than she expected, given how big the lopsided body was. Taking the pick nested in-between the low E and D strings, Ren casually played a simple blues riff that rang out the entire room. Swaying her head to the motion, she closed her eyes and let her feelings momentarily take over. Reopening them, her shoulders lightly jumped at the entirety of 1-A staring in awe.

“That was freaking awesome!” the rocking girl praised with fire in her eyes.

“How did you play that?!”

“That was such a bittersweet melody!”

“Gah, why couldn’t you be a first year?! Our show would kick so much butt with you in it!” Kaminari lamented.

As the barrage of comments and admiration continued, Ren couldn’t help but let out a light chuckle. For the first time in a long time, she felt like her age doing normal high school things instead of worrying about the doom and gloom in the world.

“Can you join our band and help us?” Jiro pleaded, to which their R.A. gave an apologetic look and placed her hand on her shoulder.

“No can do. I got my own thing,” she answered. “You’re all gonna add your own flare to it and knock ‘em dead.”

With everyone’s parts finally settled, class 1-A’s rockin’ performance was set to go. Ren smiled to herself and picked up the bass guitar resting on a chair. It’d been about two years since she last picked up any kind of instrument. It was one of the many hobbies she casually picked up to relieve mental stress from her investigations then. Giving it a quick tune, she warmed up her fingers with some basic scale progressions before jumping right into bass slapping a riff at a quick speed. Jiro immediately recognized it.

“That’s one of the songs my dad composed!” she exclaimed. “You’re a Screaming Death fan?!”

Ren’s hazel-green eyes widened little by little in excitement and did a small hop with the bass dangling on her body.

“Your dad’s Kyotoku?! No. Freaking. Way.” The pink-haired girl geeked out at the earphone jacked girl.

The two girls grasped hands and eagerly chatted with one another about music and all the bands Jiro’s dad composed and produced for. They ended up taking the conversation into Jiro’s room and chatted into the night. The two overslept the next day and ended up being late to class. Ren had to run to 2-A’s dorms after classes to discuss the story line for their performance along with costume ideas and stage setting, with many arguments thrown in between.

It was a mad race to put a production together given the amount of work needed. In the end, she was put in charge of writing the story due to having the highest grade in literature composition. Those who weren’t performing worked on props, costumes and staging. The poor heroine dragged her feet back to 1-A all sloth-like and groaned like a zombie. Angling her head up, she saw Togata’s side profile walking with a little girl in tow.

Before she could hide, he already spotted her out.

“Hey! Ren-chan!” the tall blond boy happily greeted and waved his arm madly. The child hid behind him, clutching to his pant leg. She hesitantly greeted him with a weak wave and walked up to them, not expecting to see the two so soon.

“How’s your body doing?”

“I’m all better!” Togata strongly replied and posed with flexed arms. “I’m taking Eri-chan around U.A. so she won’t get scared with all the crowds for the festival.”

She looked down and saw a small girl with wavy silver blue hair shyly peeking from around his leg and jolted back upon making eye contact with her wide carnelian eyes. The horn that was once protruding out of the right side of her forehead looked like a bump now. This was the first time Ren got a good look at her.

Eri, the child who took away Mirio-senpai’s quirk.

As much as she wanted to get angry for it, the third year made her promise she wouldn’t when they were at the hospital. He reasoned saying Eri’s suffered enough and should be allowed to live a normal life, considering how blessed his was before losing his quirk.

As expected of the senior she admired.

She couldn’t argue against that.

Ren had to dig deep to find the better version of herself and find forgiveness to this child.

To fight through the dark lingering animosity in her heart for taking her pillar away.

Letting out a light sigh, the second year got down on one knee to meet the girl face-to-face with a small and warm smile.

“Hi, Eri,” she softly greeted. “I’m Blink.”

The light blue haired girl gingerly peeked out again and was met with welcoming hazel-green eyes.

“You were there too…” she shyly uttered out. “With Lemillion and Deku. I remember you.”

“I was, but I’m okay too. See?”

Ren flexed her left arm up with a toothy grin, trying her best to hide her fatigue.

“Shall we get going before it’s too late?” Togata suggested and the three made their way over. When they got close enough, they could see class 1-A doing dance rehearsals outside. The tall third year immediately hid behind a bush and dragged Ren with him by her hand.

“What are you doing?” she whispered.

“They haven’t noticed yet,” he snickered and saw a glimmer of mischief in his beady cerulean blue eyes.

“Oh no…” She groaned out and placed her hand on her forehead. “Mirio-senpai, please…” she begged.

“What sort of sudden entrance will get a laugh out of them…?” he uttered to himself and popped his head out of the bush.  

Not realizing Eri already came out of hiding, Togata pushed his butt through the bush and shouted, “The peach is ripe!” with no one noticing. Ren couldn’t do anything but face palm with embarrassment.

This. This is the guy she admired and had feelings for. Ladies and gentleman, Togata Mirio. At least his sense of humor was still intact.

“What are you doing?” Aizawa suddenly came around and saw the two of them crouched behind the shrubbery.

“I just got dragged along the way,” Ren let out tiredly and got off of the grass. “I have to start working on my part of the festival.”

“I heard you guys are doing a play of some sort?” the tired homeroom teacher of 1-A asked.

“A mix of dance and performance. I’m in charge of the script.”

“I look forward to seeing the final product!” the third year beamed.

Eri hid behind Togata again as class 1-A came up to greet her one by one while Aizawa explained why she was here. In the end, Midoriya and Togata took the young girl around the school grounds to see the preparations being done for the culture festival. Ren greeted everyone and made her way up to her room to work on the story line.

After two hours of solitary confinement, she couldn’t take it anymore and decided to get some fresh oxygen into her brain and took her notebook along. Exiting the elevator to the common area, the band team of 1-A was taking a short break from practice.

“How’s it going down here?”

“Ren-Ren! Just in time!” Jiro called and quickly walked over with some sheet music in hand. “I need your help with an arrangement for the bass and guitar.”

“Without honorifics already?” Yao-Momo noted with a smile. “That was quick.”

“I could do away with all that, frankly,” Ren stated and rubbed the back of her neck uncomfortably. “I get it’s a sign of respect in Japan and all, but it really freaked me out when I started school here. I thought I was in trouble when my classmates called me by my last name with –san.”

“Well that’s understandable,” Jiro let out a small laugh. “The way you carry yourself doesn’t exactly scream Japanese either.”

“Hey now, watch it,” their upperclassman playfully warned and gently poked the girl on her arm. “I know I don’t have a lot of the fine etiquette of the culture down, but I can at least speak it close to fluency. Although, the slang is super* hard.”

Yao-Momo, Kaminari and Jiro burst out laughing, while Tokoyami coughed trying to conceal his. Bakugou just sat back quietly watching everyone and let out an amused smirk.

“The way you said that was super* cute, senpai,” Kaminari complimented between his giggles. “It’s almost out of character for you.”

Since the electric blond boy was out of her reach, all she could do to retort was by lightly throwing a couch cushion at him before looking at Jiro’s sheet music, not caring whether or not it hit.

“This was the part I wanted to try rearranging.” The purple haired girl pointed to a specific bar. “It’s hard for me to sing and play this part together. And here’s the guitar’s…”

“Jesus, Kyoka,” Ren groaned out and stared at it wide-eyed. “This is way too hard for a beginner to play. Tokoyami and Kaminari’s fingers must be throbbing like hell.”

“It’s nothing compared to the fruit we bear in the end,” the dark raven poetically drawled out and closed his left hand in a fist, only to let out a sudden “ow.”

“‘This pain is nothing’ huh?” she teased with a smirk and an arched brow before going back to look at the music tabs.

“I got a little overzealous when it came to the original arrangement,” she timidly replied and tapped the tips of her headphone jacks together shyly.

Scanning over a specific riff again, Ren took a mechanical pencil out from her pant pocket and scribbled on the sheet music before handing it back. “If this arrangement works out, the drums and synth will have to change too.”

She stood and walked up to the band set up area. Re-reading the sheet music once more, she approached the crow-headed boy.

“Tokoyami-kun, your guitar please,” she requested. “I’ll play the arranged version with Kyoka so we can make adjustments on the fly. Let’s start four bars before it. Bakkun, count me in.”

“Don’t call me Bakkun,” he blurted out and tapped his drumsticks and hit the snare.

Jiro played her part on the bass and sang while Ren played what was written on the sheet. Then came the arranged part, mixing rhythm and melody to near perfection and continued playing a few bars after before stopping.

“How’d that feel?”

“A lot better already,” she confirmed. “The bass definitely works out, but the guitar can have more flare.”

“How about this instead?”

The pink-haired girl played a simple melodic riff and ended with a vibrato on the sustaining end note. The two girls continued their discussion.

“It’s like watching two pros work,” Kaminari remarked with admiration to Bakugou, leaning against the wall with crossed arms. “It’s pretty amazing considering all the stuff senpai went through.”

The ash blond boy continued watching their resident advisor. He couldn’t help but respect the tenacity and personal strength she had for going through what she did and still manage to smile like she did. Compared to himself, he was still weak in that aspect.

Watching her call Tokoyami over, she reviewed the changes with him and gave him a few pointers in playing the edited part. He nodded and wrote the advice down on the sheet music before observing her hand position so he could play it efficiently.

“Well, your hand’s much bigger than mine, so you’ll be fine with this arrangement,” she chuckled before turning to the rhythm guitarist. “Kaminari, your chord progression should go like this.”

The pink haired girl played the electric blond’s part with a rhythmic strumming pattern with some chord cut offs.

“Remember you’re keeping the groove of the band together with Kyoka and you don’t have to play every note in the chord. That should be easy enough for you. I’ve marked it down on your sheets too.”

“You have my thanks, Ren-senpai,” Tokoyami humbly replied.

“Thanks senpai!” Kaminari cheerfully replied. “You’re always helpin’ us out!”

“It’s fine. Don’t sweat it. Just put on a good show,” Ren grinned and turned her head. “Bakkun!” she called. “Think you can keep up with the changes?”

“Of course! Who do you think I am?” he grumbled out.

“Uh huh,” she flatly replied to tease him. “Anyway, I’ll leave you guys to it. I have a manuscript to finish up,” she lamented.

She made her way to sit in the common area and set her notebook on the table as the band team finalized the new arrangement. Thumbing through where she left off, Ren read through the bulleted story plot she had in mind and pouted with knitted brows, twirling her writing tool on her fingers.

The concept she came up with the performance was “air” and “freedom.” It was to be a very whimsical and fantastical theme, but how was she going to ground it? There were too many things going on with what she wanted and began crossing out unnecessary plot points.

It needed to be so simple even a child can understand it.

She felt a sudden light bulb pop off in her head.

It had to be that.

Quickly turning to a fresh page, she madly scribbled down the new concept and primary plot points like Midoriya would with hero quirks and all its details, sans the muttering. Reading it over again, she was satisfied with the general structure. Ren quickly took her phone out and took a picture of the notes to send to her class rep via group text. Within three minutes, she got a unanimous approval from everyone.

She changed the concept of the performance to “hope” instead and it will be nearly entirely of no dialogue. From the performance aspect, it shouldn’t be too much trouble with the choreography. The costume team, however, was going to kill her with some of the ideas she had in mind. From there, she gave a more detailed outline of the story plot and whose quirk to use for staging effects.

Any free time students had were eaten up with rehearsals, wardrobe fittings and fleshing out every little detail. There were times people were so exhausted, they ended up having a makeshift sleepover in the common room. Tonight it was some from the band and staging team with Ren.

“How’s everything coming on your end, Ren-Ren?” Jiro asked and leaned her head on her left shoulder like a pillow. Todoroki was on her right.

“We’re moving along,” she sighed out and stifled a yawn. “Choreography’s halfway there and the costumes are down to the accessory making and adjustments. Still testing out quirks for staging effects though. Thank goodness I’m not performing.”

“Really? I was looking forward to seeing you on stage,” Yao-Momo expressed slight disappointment.

“Even if I could, I wouldn’t have the energy to rehearse. The scene changes for the story are eating up most of my time,” she explained with an apologetic gaze. “Maybe next year.”

“What’s the performance going to be about?” Todoroki asked, looking up at her.

“It’s a surprise.” Ren put her index finger up to her grinning lips.

“Ehh? Not even a teeny tiny clue?” Kaminari begged.

She shook her head.

“I’ve been sworn to secrecy because snitches get stitches.” She dramatically splayed her hand over her forehead, making everyone chortle.

“Aw, c’mon! Just a teeny tiny little clue!” Kirishima tried coaxing their R.A.

“My lips are sealed.”

“What can we do to unseal them?” Sero asked almost seductively.

“Absolutely nothing. I am an unmovable rock,” she replied with a finalized tone and changed the topic. “You guys are sounding very solid based on the rehearsals.” “That’s because we have a great teacher,” Kaminari gave a thumbs up at Jiro.

“All you have to nail down is rhythm, Kami-kun. You’re still playing a beat ahead of everyone,” she gently scolded.

“That’s ‘cus Bakugou keeps improvising!” the electric blond complained.

“It’s not my fault you’re a dumbass who can’t count to four,” he shot back defensively. “I’m gonna teach you basic rhythm tomorrow.”

“I kinda wish my class did the battle of the bands theme.” Ren looked up at the Takamine acoustic guitar laying about on the couch and gently stroked the neck with a small smile. “I do miss playing.”

Deciding on a whim, she grabbed the guitar and casually strummed it. Jiro and Todoroki moved their heads from her shoulder and scooted back.

“Normally, I get really nervous playing in a crowd,” she revealed. “But since it’s just a couple of us tonight...”

“Oh what a rare treat!” the rocker girl squealed out and clapped her hands excitedly.

She strummed a rhythmic melodic chord progression and started singing in English.

With the amount taught to them at U.A., they managed to understand a good amount of the lyrics as Ren sang. It was a song about always letting your fears take over your life and having the courage to take control back from it, no matter what happens**. Unlike Jiro’s voice, her’s was soft and breathy, complimentary to an acoustic. Even though her heart carried all those heavy feelings from her past, she was still able to produce such a gentle and warm sound to lift other’s burdens and bring them tranquility.

With the strum of the last chord, the small audience erupted into quiet cheers and whistles.

“My voice isn’t as good as Kyoka’s since it’s more suitable for harmonizing and I don’t sing properly from my diaphragm,” she shyly confessed and lightly grasped her throat.

“Oh you’re fine,” Jiro disregarded. “You can at least do vibrato better than I can.”

“Senpai, I think I might be falling for you...” Kaminari gushed like a school girl half jokingly.

“Sorry not my type,” Ren deadpanned at lightning speed with a poker face.

“Oof, shot down immediately,” Kirishima chuckled and patted his friend on the back. “Tough times, buddy.”

She sang in Japanese this time. It was a popular song from a few years ago that left an impression on her. Jiro knew the song and joined in with her doing the harmonics, with Ren letting her sing some of the verses. The song ended with a gentle note and everyone applauded once more.

“Okay, that’s it!” She forcefully removed the guitar from her hands and handed it to Jiro, squeezing her eyes close and puffed up her cheeks. “No more! I got it out my system.”

“Ren-senpai and Kyoka-chan should do a duet together next time,” Yao-Momo suggested. “It’d be so much fun to watch!”

“A future collab huh?” The pink-haired girl turned to the rockin’ girl of 1-A. “Interesting.”

“I’m down to give that a try.” The two girls bumped fists with a smirk.

Carrying on idle conversations a bit longer, the students fell asleep one by one in the common area; Bakugou went back up to his room, who much preferred his own bed. The next morning came and those who were already awake were snickering. Jiro sneakily took out her phone and snapped a picture.

“This is too freaking amazing,” she tittered out and sent the photo to the girls’ group chat.

“I thought they had somethin’ goin’ on, but this really takes the cake,” Kaminari offhandedly commented.

With all the commotion going about in her ears, Ren winced and slowly stirred from slumber. Fluttering her eyes open, she saw the figures of Jiro, Yaoyorozu, Kaminari, Sero and Kirishima crowding over her.

“Oh, sleeping beauty’s awake!” Kirishima confirmed with a toothy grin.

“Sleeping—what?” she mumbled and turned to see Todoroki’s resting face extremely close to hers. Her sleep-ridden eyes widened gradually and was now fully awake. She also felt his arm loosely draped around her waist under the blanket and immediately threw the covers over her head as a feeble attempt to hide. Gingerly sliding away from him, the sleeping boy let out a small groan of protest and pulled her into his chest, cuddling her. She felt her cheeks grow warm.

“Oh my God, this is not happening right now,” she quickly whimpered out in one breath as she struggled to break free only to have his grip tighten. Suddenly feeling the ill intentions permeating through the blanket from outside, Ren inwardly panicked as she felt the corners being lifted.

“You can’t hide from us!” Jiro shouted as the whole group made an effort to lift the entire sheet up, only to see a sleeping dual-hair colored boy by himself.

Ren teleported back into the darkness of her room just in time. Her heart was pounding and her face was completely flushed from the commotion. Letting out a small sigh of relief, she rested her back against the door and breathlessly chuckled to herself in disbelief.

“Senpai! That’s not fair!” muffled voices shouted below and jeered.

Her peace was short lived when she heard her phone buzzing uncontrollably.

Curiosity and nervousness getting the best of her, she walked over to her desk and unplugged it from charging. Ren physically choked on her breath upon seeing the photo and exploding messages sent from the girls demanding all the answers. The sudden ring of her phone scared her and almost made her drop the device. She picked it up after looking at the caller ID.

“Ya wanna explain what’s goin’ on?” Tomoe’s voice asked over the receiver.

Ren stammered.

“The photo Jiro-chan sent to us.”

“Shiiiiitttt!!” she hissed out in English. “Now, hear me out–”

“I didn’t know you were into younger guys now,” she teased and slowly failed to hide her laughter.

“It’s not like that!!!” the flustered girl whisper shouted. “We were all–”

“Oh it’s a ‘we’ now?”

The accused girl groaned aloud in frustration.

“Well, it doesn’t matter. Seri and I are coming over in a few hours to pick you up and go over some performance stuff anyway. You can tell us then. Bye~”

She heard the receiver click and all she could do was stand in the middle of her room completely dumbfounded. She took a breath and threw her head back.

“Words, Ren. Use. Your goddamn words,” she said to herself aloud.

This Sunday was going to be the longest day ever.

--

* “Very” in Japanese slang is 超 (ちょう) “chou.” Kaminari uses it often in the way he speaks. The kanji also means “super.” So if you were to say “This is super hard (これは超ムズイ) (Kore wa chou muzui)“, it’s still grammatically correct in more colloquial terms.

** I thought Incubus’ “Drive” would be fitting for Ren’s character, considering recent developments.