#the women's exponent

[heathersdesk]

"Women Lovers"

Perhaps you do not know it, but there are women who fall in love with each other. Woe be to the unfortunate she, who does the courting! All the cussedness of ingenuity peculiar to the sex is employed by "the other party" in tormenting her. She will flirt with women by the score who are brighter and handsomer than her victim. She will call on them oftener. She will praise their best bonnets and go into ecstasies over their dresses. She will write them more pink notes, and wear their "tin types," and when despair has culminated, and sore-hearted Araminta takes to her bed in consequence, then only will this conquering "she" step off her pedestal to pick up her dead and wounded. But then, women must keep their hand in. Practice makes perfect. FANNY FERN

Published in The Women's Exponent, 15 April 1873

[red-garden]

Post canon Mu Qingfang transitions and Wei Qingwei (aka xianxia Hozier) discovers religion (his beautiful incredible angelic wonderful wife).

[invenusworld]

rohini

rohini's presiding deity is brahma, who is said not to be concerned with morals, with 'right or wrong,' but rather simply with the act of bringing to fruition every impluse of the imagination. fantasy, desire and sexuality are deeply entwined with the symbolism and cosmic function of rohini — the red woman — the one easily aroused, and rohini is ultimately in the pursuit of pleasure, in all its various guises.

rohini seeks to uncover, unearth and experience all which causes the loins to stir, regardless of its perceived morality. It may seem that there are no limits to the sexual proclivities of Rohini, and in some instances there aren't — as in the extreme case of rohini sun native Marquis de Sade.

to quote The Hidden Octave,

"[The Marquis'] Rohini influence comes in strongly in his total disregard for laws and morality, a total abandon into all things sensually gratifying as this is not a nakshatra of discrimination, rules or any of the programming that holds man back from giving himself over to his lust. Fundamentally, Rohini is the pursuit of pleasure for its own sake.

Have a crush? Who cares if he’s a convict felon or your middle school teacher or married? Go after it."

Egon Schiele, Self-Portrait with Physalis, 1912

Egon Schiele is an artist whose mercury is in Rohini. Mercury represents the area of life that we have a practical, tangible understanding of. The placement of mercury also reflects our creations and manipulations of matter.

"Egon Leo Adolf Ludwig Schiele (12 June 1890 – 31 October 1918) was an Austrian Expressionist painter. His work is noted for its intensity and its raw sexuality, and for the many self-portraits the artist produced, including nude self-portraits. The twisted body shapes and the expressive line that characterize Schiele's paintings and drawings mark the artist as an early exponent of Expressionism. Gustav Klimt, a figurative painter of the early 20th century, was a mentor to Schiele."

Schiele's mentor, Gustav Klimt, has his venus in Rohini.

Gustav Klimt, Daphne, 1903

I will now share an excerpt of an article by Dominic Witek regarding the polarizing and deeply controversial artworks of Egon Schiele

"Created in the era of Freud, Schiele’s work can be seen as a metaphor for the psychoanalyst method of the talking cure where drawing is synonymous with speaking, revealing and releasing hopes and fears lodged in the unconscious."

Here, the author likens the work of Schiele to that of Rohini moon native Sigmund Freud.

"The broad spectrum of emotion depicted is expressed by Schiele’s various presentation of women. The different articulations of their bodies seems to convey a host of the artist’s attitudes, ranging from fear and distanced superiority, to admiration and desire for women. Indeed the artist’s relationships with women reflected these hopes and fears. He married Edith Harms, a respectable woman with whom he established a marriage based solely on friendship, continued an intimate relationship with Wally Neuzil despite attempting to end it before his marriage, and had an unusual relationship with his sister Gertrude.

[...] characterisations of the artist’s sister invite questioning on the nature of their relationship, which at least hints at the incestuous."

Brahma was condemned for incestuosly desiring his own daughter (creation) Rohini, which prompted her to adopt the form of a deer in Mrigashira to escape from her father.

"Egon was arrested in 1912 for suspected sexual harassment of underage girls. Despite this traumatic event (which he lamented extensively in his writings), he continued to depict very young women until his death.

His aesthetic mirrors Freudian attitudes in which sex is intimately related to death, the connection between the pleasure principle and the death drive, Eros and Thanatos. Freud articulated this tension in relation to women, defining the ‘castration complex’ as experiencing the fear of being castrated, while caught by an irrepressible sexual desire. Woman with Black Stockings, 1913, articulates this tension as a reclining woman lifts her skirt to reveal her sex"

It seems as though the threads of the unbridled pursuit of pleasure weave together the works, philosophies & artworks of rohini natives through the ages

To quote Jason Farago, "True morality, for Sade, entailed following your darkest and most destructive passions to their farthest possible ends, even at the expense of other human life.

To kill a man in passion was one thing, but to rationalise killing by law was barbarous.

“We rail against the passions,” [Sade] wrote, “but never think that it is from their flame that philosophy lights its torch.”

[letherightonein]

Why "male loneliness epidemic" is a male supremacist psyop [corrected ver.]

I said in a former post that the "male loneliness epidemic" is not real and is a male supremacy psyop, and I want to explain more broadly why it is.

Manosphere

If you don't know about it yet, there is a thing called "Manosphere", a name that stands for a group of communities created by men and oriented towards men. Manosphere is composed of incels, redpill, blackpill, MGTOW and MRA ideologies.

Incels are "involuntary celibates", men who want to date but can't do it. The term was created by a woman called Alana (invcel) and mostly referred to people who felt isolated and incapable of forming romantic relationships or trapped in a dying relationship. But nowadays it is tied to a broad ideology that I will explain later.

Redpill stems from the Matrix scene where Neo has to choose between the redpill and the bluepill, being the redpill the one who will awaken him. The whole ideology started to take its form in pick-up artistry forums such as SoSuave, and states that in order to mate and get laid a lot you have to become a "high value male", while also understanding "female nature". The original big three exponents of this ideology were Rollo Tomassi, Chateau Heartiste and Roosh V, but nowadays only Rollo remains moderately relevant.

Blackpill is the most pessimistic and nihilistic version of the redpill, it is tied to incels but is not exclusive of them. It focuses on biological determinism, and states that the most important thing on mating is looks. That seems innocent at first sight, but this ideology also states that most men are not attractive to women, and they are having a soft harem relationship with “Chad”, a highly attractive man, in detriment to average men and creating incels in the process.

MGTOW started as an independent community, with a first manifesto written in 2001 in a male focused forum. In the manifesto they advocated in favor of a society with enforced gender roles and a smaller state. But nowadays they are connected to redpill and blackpill. It is mostly overlooked, but in Spanish communities there are also two other manifests, MGTOW 2.0 and MGTOW 3.0. I don't know if there is a fourth one nowadays, but they help to understand the transition MGTOW has made over the years and how manosphere ideologies have been adopted by this group.

MRA stands for Men's rights activism, also called Men's rights Movement (MRM). The father of the movement is Ernst Belfort, who wrote against women's rights and the "legal subjection" of men, in response to feminists and John Stuart Mill. Nowadays it is also tied with redpill, given that prominent figures of the movement promote or believe in redpill ideology, such as Paul Elam or Karen Straughan.

In 2014, Cassie Jaye who was allegedly a feminist by that time, did a documentary on MRA called "The Redpill". It's not clear why she called it that way, but it is suspected that it was with the purpose of dragging more people on the redpill. It is also said that she received money from r/Theredpill subreddit. The documentary was international, since it reached both English and Spanish audiences (I don't know much about other languages/countries). It exposes a lot of problems men face, such as dying in war, losing custodies and domestic violence, but never explains what MRAs do to help those men.

That term

Once you become familiar with all these communities, you start to see how they are all the same. They share the same stats, the same studies, the same terms, the same narratives. The only thing that changes is the label, if the members can or not to have sex with women, if the members want or not to have sex with women, and if the members "care" or not about society.

One of the core terms that is transversal to almost all communities is "Hypergamy". (The central one on MRA is Gynocentrism). And it is a tricky one.

Men in these communities are used to gaslight and belittle external people, but also they bully each other constantly. In Spanish, for example, MGTOW ones used to dedicate long livestreams and called each other cucks, betas, manginas, etc. One point of discussion and "artistry" in the manosphere is hypergamy. It has inspired long videos, live streams, books, blogspots and debate among its members. Entire communities have been divided over this concept, and others have been created.

In their videos and "private" spaces they call any woman hypergamous. I remember when MacKenzie Scott divorced Jeff Bezos, and she was called hypergamous by these people, arguing that she planned it all - “they marry the provider and once they secure their money, they go with someone they really like”- and ignoring that she divorced because Jeff cheated on her. 

“Hypergamy” in short, is mating “up”, but the manosphere twists this term to make it fit anything women do. Women who date men who are more attractive than them are hypergamous, women who date men who are less attractive than them but have money are hypergamous, women who date men with less education than them are hypergamous. Women who rate men "below average" (another male bullshit story) are hypergamous. 

Women's nature is hypergamous and male nature is not, even if men also leave their geriatric wives for 20 year old women, even if men also cheat with a more attractive mistress, even if men marry more educated women, even if men marry women with more money. They are not hypergamous, they are polygamous, but also don't mind settling with a woman given that "women choose" and men barely have any chance with women. 

Anything a woman does is hypergamy. Except when you call them out and tell them it's all fake, or where is the inner consistency, given that they call marrying a poor man and a rich one “hypergamy”. Then, they come with studies on hypergamy. "How can you say that women are not hypergamous if this study says that they 'marry up'?". Suddenly the term only applies to marriage, behind are left all those theories over “Chad” being picked by all women.

Hypergamy, in academia, is a term used by social scientists that is related to marriage and the act of marrying up in social class, annual income or status. Since superior education in the west is a high sign of status (repeated two times in a list of status signals among men and women across 14 countries), studies on the subject account for income and degrees. 

The research found that women are married to men who earn more than them, but don't have more education than them, so men are "marrying up" in status. Such a trend has not substantially changed among decades. Nevertheless, it is recognized that it doesn't translate on men being the breadwinners, given that most marriages are dual income, and that hypogamous marriages, where the man has less education than the woman, are becoming more common.

Nothing about women making heartless plans on marrying with the rich one, divorce him and then mate with “Chad”, nothing about women sleeping mostly with “Chad”, certainly nothing about hypergamy being exclusively female. But it's enough for them, even when the second they provide those studies they make it clear they are being dishonest. The seeds have been planted; women are choosing only the rich ones to marry, leaving poorer men single. The one who is debating them and the ones watching the exchange, only have to start to believe that female hypergamy is rising, being amplified by technology and being extended to other aspects of relationships.

The Lie...

...and how everyone decided to believe it

As we have seen, the manosphere term is not the one that social scientists use. It is whimsical and doesn't make sense...on the surface. The magic is in repeating that women are hypergamous, that they will choose all the time only a few men and let the rest sexless, single or childless, that sexual revolution and women's freedom of choice is a disaster and contrary to civilization. If the lie is repeated enough times, people will start to believe it. 

And well, it worked. It worked so well that feminists, instead of checking the data, seeing the male strategy and debunking the nonsense, decided to repeat the same lie. “Women are choosing better, women are making men single and sexless! Pussy Power!”. There is literally a book on this. 

White supremacists also adopted the term, and the manosphere also adopted white supremacists perspective; they quote the work of Roger Devlin, Sexual Utopia in Power from time to time. 

Authorities regarded as “thinkers”, such as Jordan Peterson, and a long list of influencers also adopted the narrative and repeated it to the public. 

Normal people also believe in it, in 2019 The WaPo decided to craft and release a graph that, until today, is made viral countless times in social media, indicating that “men are in crisis” given that “ a third of them are sexless”. They repeat that there is a “male loneliness epidemic” and it’s implicit that women are the problem; “they should lower their crazy standards, they should stop being delusional”.

Women are rating 80% of men below average! They are delusional! Their simps make them believe they are 10/10!

It's extremely easy to fall in the rabbit hole. They start hearing about a disbalance on the distribution of sex, or dating, or in dating apps matches. They start hearing about a singleness crisis among men, and they have already accepted that such disbalance, such crisis, is a modern thing, because no one seemed to talk about it in the past. (right?)

They hear about male loneliness and mental health issues, and they understand that the disbalance is a bad thing. So they are one step away from starting to believe that mating is a process that should be regulated and controlled by the state, religion or cultural norms. Like, one click away from watching Jordan Peterson saying exactly that.

The manosphere has been repeating this idea for more than 10 years. At least one decade feminists had to stop this shitshow and they didn't, which is surprising given that the whole thing is perfectly summarized in the white supremacist essay I linked above. But they didn’t, because at some level, this meme also can benefit liberal feminism. The ones who spread and believe in this idea don't care about the data, they want the narrative, and it can be used to promote diverse agendas. So, instead of debunking and calling out, they chose to use the narrative for the feminist cause and they are now losing. Women are losing. Women lost.

The truth

While the General Social Survey graph from 2018 is made viral again and again on social media, the same survey on more recent years is completely ignored. 

The most repeated bunk of the last couple years.

Reality is that in both 2021 and 2022, the sexless in those years were below 20%, which is consistent with former years. Most men and women were having sex. In 2021, women even reported being slightly more sexless than men -but no one threw a tantrum over a “female loneliness epidemic”.

The survey also included a variable to measure people who were sexless for the last 5 years. Less than 10% of men and women reported being sexless that amount of time. It indicates that there is not “soft harem” around “Chad” or “Alpha males”, but people are having sex in a 1:1 ratio, and that most of the time, for every sexless man there is a sexless woman.

It is also repeated constantly that there are more single men than women, and it is suggested that it is because women are part of soft harems with High Value Males. This idea has been repeated so many times that even researchers have adopted it.

But the truth is that this disparity has been a thing for decades, even a century.

Before the sexual revolution, when everyone was married (right?), there was also a disparity between single men and single women. The key here is that the disparity exists between young people, and the most near explanation is age gap relationships; young men are more single because their female counterparts are dating slightly older men. But also, nowadays single people report less interest in having a relationship; men are not suffering for their “involuntary celibacy”, they are not into it.

I't curious how the "women and men are different" crowd swear that single women are looking for casual dates with "high value males" when it has been proven over and over that men have a higher sexual drive.

It’s also said that Dating apps have caused a disaster on the “dating market”, given that women nowadays have instant access to “high value males” and can ignore average men, while they are there longing for the minimum chance. Again, the idea that women are into a soft harem with “Chad”. This idea doesn’t hold reality, it’s true that by taking into account raw data, it seems that women have much more matches than men, but the major factor ignored is the gender ratio within dating apps; when adjusting that, matches become even, again fulfilling the expected 1:1 ratio between men and women.

It’s also stated that dating apps have increased “hook-up culture”, but that doesn’t seem to be true. Here's a deep dive on dating apps and dating.

Academic naiveté(?

Manosphere gives a final push for the hypergamy narrative by quoting the experts on the matter. And somehow, researchers don't have a problem with it.

It has been said -by prominent figures like David Buss- that there is or will be a mating crisis among educated women, because there will be a shortage of high income husbands. They say "women don't marry because there are not enough economically attractive men". And with "don't marry" they understand "remain single and childless".

That crisis doesn't exist. Marriages between college educated people are the longest ones, there are less widows and divorces even. Educated women are more likely to be married than the opposite.

The focus also is steady on marriage, and I suspect that’s because their narrative perishes if they actually start to value mating and reproduction instead. In the US, at least 40% of all births are out of wedlock, and that figure increases if we take into account other American and European countries. Maybe women are not marrying out of “lack of economically attractive men”, but they are still reproducing with them. More bluntly: women are having kids with men that can’t buy a ring, but they keep saying that women are “too picky”.

The real crisis, if there is any, is happening among classes, the poor are poorer and the rich are richer. They are sharing their assets with each other and forming strong families while the poor prioritize reproduction since they can’t afford marriage and everything that entails.

Ironically, equality and women's choice have achieved what these men are apparently longing for. The secretary marrying her boss or the nurse marrying the surgeon is becoming a thing of the past -or probably it was never a thing. The doctor is marrying another doctor, the boss is marrying a woman with a Phd. Rich men are not dating down, even when rich they marry rich women, not the cashier 20 years younger than them. 

To counteract this they quote Leonardo Dicaprio and his creepy behavior, without noticing that the man is not marrying or having children with those women. While even richer men are married and with kids with women at their level.

The future

It's clear to me that the agenda is settled, and they will do anything that can reinforce it. If we push for the truth to be known, they probably won't be able to use sexlessness or the singleness gap as a thing, so they have created a new term: "dysphoric singlehood". And they will start measuring it soon. 

The stats, the terms, the memes will change. But the core will remain the same. Women’s choice is dangerous, it leads to the creation of more incel men and to degeneracy. "Women will destroy civilization" at worst and "women's nature causes pain to men and it should be controlled or put in check" at best. And there are and there will be groups who will propose tight control from men over women as a solution.

Call to action

Nowadays, as I have said, this conspiracy is shared by a lot of different groups with different interests, but are more tightly enforced by male supremacists.

As feminists are interested in women's well being and freedom, they shouldn’t make male supremacists work easier by repeating their lies. Sadly, I have seen countless times feminists, here and in other places, spreading manosphere lies, mostly because it serves to a temporal sense of victory over men or because it can feed the “patriarchy hurts men too” libfem bit.

But feminism shouldn’t prioritize fantasy over reality, even if it’s rough; almost everything remains the same in the heterosexual world, women are still dating, having sex, marrying and having kids with men in large numbers. Incels are tiny outliers in the big scheme of things: nothing is rising.

Our sisters should know the truth, our nature is not contrary to civilization, our choices are not detrimental, we shouldn’t be controlled. Nature runs its course.

Conclusion

It is important to understand that evolution doesn't allow everyone to reproduce. It's nothing new that some men and women didn't pass their genes, this was a thing in the past and will always be. 

Mating, having sex and therefore, reproducing is not a right. The whole point of evolution is that effective subjects make it, and the few remaining ones are left behind. This process is not being blown up by technology or women having more freedom. 

The influence of women on reproduction is discussed, but given that even in cultures with arranged marriages the future wife has a word on it and mothers, who are also women, have also a said in who the husband should be, I highly doubt that there was a long period of time in human history where women had no choice at all. It doesn’t seem to be consistent with reality to believe that women are programmed to only like a few men.

About data on human relationships, I think it’s important to be skeptical from now on of every viral graph and any “too perfect and bright” theory. If it relies on a result given in only one year, it’s bunk. If it incites a moral panic, it’s bunk. If multiple sources don’t show a clear trend, it’s bunk.

Doesn’t matter if it comes from your respected professor, that influencer or popularizer that you like, that intellectual that always transforms big chunks of information into easy concepts to get. Don’t trust, they are probably wrong. If your grandma knows about it, you are late in your contact with reality by at least 20 years.

[charl0ttan]

If you two women repeatedly forcefem eachother, does the femming multiply or exponate?

it actually decreases as they both approach the asymptote!

[mariacallous]

At the intersection of Mexico’s vibrant culinary traditions and the history of Jewish immigrants lies an astonishing palette of flavors, ingredients and cooking techniques. The interplay between these culinary worlds has birthed dishes that both challenge and complement our understanding of Mexican and Jewish cuisines, reaching far beyond the typical or stereotypical.

Mexican food is much more varied and extensive than its globally recognized icons: tacos, guacamole, fajitas and burritos. It’s informed by a mosaic of techniques and culinary fusions borne out of its rich history of immigration. The Spaniards introduced ingredients like pork and dairy, while African slaves infused Caribbean flavors. Later, French immigrants integrated their haute cuisine techniques, and the Germans brought in their brewing know-how. 

Jewish immigrants set foot on Mexican shores shortly after the Spanish colonization in the 16th century. Many of these settlers, known as conversos, crypto-Jews or silent-Jews, practiced their Jewish faith clandestinely. Yet their culinary imprints are everywhere. Sephardic buñuelos that were traditionally eaten for Hanukkah slowly evolved into crispy dough treats with cheese often eaten for Christmas; Puebla’s iconic sesame-sprinkled pan de semita (a sweet unleavened bread), hints at crypto-Jewish origins and a connection to Passover; and Monterrey’s asado de cabra lechal (oven-roasted baby goat) emerged as a discreet way for Jews to abstain from eating the widely popular roast suckling pig or cochinillo asado.

Today, approximately 40 to 50,000 Jews reside in Mexico, many in Mexico City, which emerged as the Jewish community’s beating heart in the early 1920s. The degree to which Jews embrace local cuisine while preserving traditional foods reflects their complex identity constructions, including  occidental (Ashkenazi) and oriental (of Turkish and Arabic heritage) traditions; the latter group includes a large community of Syrian Jews, divided into the Halebis from Aleppo and the Shamisfrom Damascus.

Many Jews have tailored Mexican food to adhere to kashrut (Jewish dietary laws). Thus, pork-based tacos al pastor get a twist with beef or spiced fish. In the upscale neighborhood Lomas de Chapultepec in Mexico City, for instance, Hilario’s kosher street food stand serves everything from hot dogs to laings (shredded or whole taro leaves with meat or seafood) from as early as 4 a.m. Jewish dishes became more “Mexicanized,” adopting spicy condiments and local produce. 

“My grandmothers were able to establish roots in Mexico and make it their country. They were able to weave what they brought with them, their cooking methods, knowledge and traditions with what they found in Mexico. The intersection and marriage of Jewish and Mexican culture and cuisine is natural. It’s a joyful, dynamic and very delicious blend,” said Pati Jinich, chef and one of the most important exponents of Jewish-Mexican fusion in the U.S. and Mexico.

“The culinary background of our Jewish people has always been one of blending. Combining flavors from where we came from with those we got wherever we emigrated or took refuge,” added chef Alegre Smeke.

Flavors such as tamarind, cilantro, camote (sweet potato), lime, chili peppers and local varieties of cheese and corn have blended into Mexican Jewish cuisine over the last century, often thanks to  the employment of live-in housekeepers, mostly Mexican indigenous women, who take care of the cooking, thus expanding the culinary repertoire of their Jewish employers.

Among the myriad dishes that exemplify culinary amalgamation, the Syrian lachmagin stands out. Originating from Syria as a lamb-topped flatbread, this dish, whose name translates to “dough with meat” in Arabic, journeyed with Syrian Jews to Mexico, where it underwent a remarkable transformation. While the foundation of its filling remains steeped in tradition with lamb and occasionally beef, it now bursts with the fiery addition of various chilies. The addition of cinnamon tempers this heat, and the spiced meat mixture is laid atop special soft flour wafers and folded over like a quesadilla.

“Creating these wafers is a time-consuming process,” writes Paulette Kershenovich, a researcher and academic coordinator at Reichman University.

“For that reason, younger women tend to buy ready-made Mexican flour tortillas, which are larger than corn tortillas, and cut them in half. This not only exemplifies the idea of food fusion but also underscores the culinary assimilation exhibited by the younger generation’s preference for store-bought alternatives over traditional methods.”

Tamarind is another ingredient that is widely used in both sweet and savory Mexican Jewish dishes. Syrian Jews prepare a fish stew cooked with tamarind, tahini, saffron, paprika and lime, sprinkled with parsley or pistachios. Stuffed pumpkins stuffed with ground meat and rice are often spiced with red chilies and cooked in a tamarind sauce with apricots and prunes. And Pati Jinich’s sweet-and-sour chicken with tamarind, apricot and chipotle sauce can be eaten on Shabbat and any Jewish holiday. 

But fusion isn’t restricted to savory dishes. Mexican ingredients like membrillo (quince) and piloncillo (unprocessed cane sugar) have been harmoniously incorporated into Jewish desserts like babka or rugelach, and Sephardic Mexican Jews use chilacayotes (a type of squash) and tejocotes (a small orange with black seeds) to make small sweets for the holidays, mostly Passover and Rosh Hashanah.

“The Jewish community has woven itself seamlessly into the rich culinary fabric of Mexico. The result is a beautiful interplay between generations and a bridge connecting two seemingly disparate worlds, which, when it comes to food and family, converge in the most harmonious manner,” said Pati Jinich. 

Judeo-Mexican cuisine is about more than just about food. It’s a pivotal element of cultural identity, social cohesion and community growth for Jews in Mexico, who proudly claim their dual identity and remain thankful for the opportunities they found in Latin America. Opportunities which extend beyond shelter and prosperity, but also the freedom to practise Judaism and preserve their age-old traditions.

[mikasa-imadebiscults]

MHA Characters as Me & My Friends Conversations

Part 6..

.

.

Denki: If there’s no AC and it’s really hot all you have to do is turn on the oven and open it and all the heat will go into the oven.

Kirishima: Wait. Actually that might work.

Denki: Apparently it’s PEMDAS and it’s gonna cancel.

Kirishima: PEMDAS? YOU MEAN AS “PARENTHESES EXPONENTS MULTIPLICATION DIVISION ADDITION SUBTRACTION”?

Denki: YEAH IT’S GONNA CANCEL THE HEAT.

Kirishima: HOW?! HOW IS MATH INVOLVED?!

Denki: OK LISTEN. YOU GO IN THE OVEN, OPEN IT, TURN IT ON AND ALL THE HEAT WILL GO INTO THE OVEN. PEMDAS. BOOM THE HEAT IS CANCELED.

- - - - - -

Denki: I would be a medic and patch up some hot military women.

Mina: I’d be in the front screaming “MOVE MOVE MOVE I GOT A NAIL APPOINTMENT AFTER THIS BATTLE WE GOTTA HUSTLE PEOPLE.”

[proudhinduforever]

Sanatani Saints

Part 3

Shri Samartha Ramdas

We will look into the life of Shri Samartha Ramdas who was a prominent Sanatani saint, poet, and spiritual leader in Maharashtra.

Early Life and Renunciation:

Shri Ramdas or previously Narayan was born into a Marathi Deshastha Rigvedi Brahmin family to Suryajipant and Ranubai Thosar. His father was thought to have been a devotee of the Vedic deity, Surya. Ramdas had an elder brother named Gangadhar. His father died when Narayan was only seven years of age. He turned into a sadhaka after the demise of his father and would often be noticed to be engrossed in thoughts about the divine.

As per legend, Narayan fled his wedding ceremony in Asangao near Jamb, at age 12, upon hearing a pandit (Hindu priest) chant the word 'Saawadhaana!' (Beware!) during a customary Hindu wedding ritual. He is believed to have walked over 200 km along the banks of Godavari river to Panchavati, a Hindu pilgrimage town near Nashik. He later moved to Taakli near Nashik at the confluence of Godavari and Nandini river. At Taakli, he spent the next twelve years as an ascetic in complete devotion to Rama. During this period, he adhered to a rigorous daily routine and devoted most of his time to meditation, worship and exercise. As per legend, he once blessed a widow lady of a long married life, without knowing that her husband has just died. It is said that he was able to give life back to the dead body of her husband and this act of miracle made him very famous in Nashik. He is thought to have attained enlightenment at the age of 24. He adopted the name Ramdas around this period. He later had an idol of Hanuman made from cowdung installed at Taakli.

His contribution to Freedom movement and literary works:

Unlike the saints subscribing to Warkari tradition, Ramdas is not considered to embrace pacifism. His writings include strong expressions encouraging militant means to counter the barbaric Islamic invaders. He endorsed significance of physical strength and knowledge towards individual development. He expressed his admiration for warriors and highlighted their role in safeguarding the society. He was of the opinion that saints must not withdraw from society but instead actively engage towards social and moral transformation. He aimed to resuscitate the Hindu culture after its disintegration over several centuries owing to consistent foreign occupation. He also called for unity among the Marathas to preserve and promote the local culture. Samartha Ramdas Swami served an inspiration for a number of Indian thinkers, historians and social reformers such as Bal Gangadhar Tilak, Keshav Hedgewar, Vishwanath Rajwade ,Ramchandra Ranade, and Vinayak Damodar Savarkar. Tilak derived inspiration from Ramdas when devising aggressive strategies to counter the British colonial rule. Ramdas had a profound influence on Keshav Hedgewar, the founder of Hindu nationalist organization Rashtriya Swayamsevak Sangh. He is also recognized for his role as a Guru to the Maratha king Shivaji Maharaj, inspiring him with principles of governance, spirituality, and valor.

Below are some of his notable literary works:

Manache Shlok (co-written by Kalyan Swami)

Dasbodh

Shree Maruti Stotra

Aatmaaram

11-Laghu Kavita

Shadripu Nirupan

Maan Panchak

Chaturthmaan

Raamayan (Marathi-Teeka)

His Teachings:

Ramdas was an exponent of Bhakti Yoga or the path of devotion. According to him, total devotion to Rama brings about spiritual evolution. His definition of "Bhakti" was in accordance with the philosophy of Advait Vedant. In Chapter 4 of his literary work Dasbodh, he describes Nice levels of devotion / communion - starting from listening / comprehending (श्रवण) to Surrender of oneself or being One with Self (आत्मनिवेदन) - the later being the core tenet of Advait Vedant - where the sense of separate "I" dissolves into non-duality. He encouraged the participation of women in religious work and offered them positions of authority.

Ramdas Swami is a revered spiritual figure in Maharashtra and remains relevant to contemporary society in Maharashtra.

🙏🙏 jai jai Raghuveera Samartha 🙏🙏

[haggishlyhagging]

Socialist feminists generally say that there was an original harmony between women and men. Only with the knowledge of paternity, the growth of private property, and the urge to pass it on to their sons did men become oppressive. Many of their writings even imply that women were not so greatly oppressed until industrial capitalism moved much production out of the home.

Elizabeth Fisher, the late author of Woman's Creation, is a strong exponent of the original harmony thesis.

...Humanity, being based on co-operation, has its origins in primitive egalitarianism and... this egalitarianism may even apply to the sexes... The earliest humans shared tasks... Dominance is inherent neither in the animal world nor in humanity.

Dominance, after all, is a laboratory concept. It simply means that when a piece of food is thrown before two animals, one of them often defers to the other...

Fisher says the men in the family did not become oppressive until the state was created and became a model for oppression. Fisher sees the patriarchal family as the authoritarian state in microcosm rather than its model. The state developed in Sumer around 6,000 years ago.

The authoritarian state was the model from which individual fathers derived power.

Integral to the success of the first organized bureaucracies was the distortion of human sexuality into actual and symbolic production, the repression of female sexuality, and the linkage of war and sex for men. With the worship of material accumulation, people were reified to be used as tools and frequently were treated as possessions themselves.

Fisher suggests that even rape was not practiced until after men became herdsmen. She says introducing forced coitus in animal breeding may have given men the idea of rape. She ignores anthropological studies describing rape in hunter/ gatherer societies, such as those cited in works like Gayle Rubin's article, "The Traffic in Women."

Fisher suggests that worshipping fertility did not mean worshipping women, but was anti-woman.

Fertility worship led to the forced breeding of women; more important, it signified the perversion of sex from pleasure to procreation.

Fisher does not believe that women and men are inherently different. She suggests that any sex hormones can increase the amount of aggression in an animal or person.

What is clear is that sex is energizing, be it testosterone or estrogen. When that energy finds no outlet, it gets displaced into irritability and, on occasion and in some species, into fighting behavior.

She adds,

We are told that ingesting testosterone makes a female more aggressive; we are not told that ingesting estrogen is also likely to make her more aggressive.

-Carol Anne Douglas, Love and Politics: Radical Feminist and Lesbian Theories

[eldritchamy]

Once we're done with Affini, we will transform them into companion species, just a speck in a interstellar ecosystem. We will provide you with a detox from their poisons. Then we will provide you with a choice - if you truly wish you can settle with them at Hylan-7, though note you'll be unable to leave the planet, because a rogue species like Affini will need 4 generations of deprogramming before we return them spacefaring abilities. Or if you wish to retrieve what's been lost to humanity you'll be able to do so with our help.

Best wishes, the day of liberation is near

The Benevolent Elephant Trunk Metastasis (The Hivemind)

I have no idea what this is from, but the thought of putting the entire Affini Compact on a single planet is hilarious.

The Affini are functionally immortal. They've existed as a spacefaring civilization for about 100,000 years by the time they reach Terran Accord space in roughly 2549, and conquered 16 entire galaxies.

And they're kind of like Time Lords, every 2-300 years they "rebloom" to eliminate all damage to their physical and mental health and just keep going with the same personality and memories. Barring injuries so severe they can't start the reblooming process in time, Affini just never die. Their population ONLY grows, forever.

The total population of the Affini Compact would have to be measured with exponents in the dozens. They have ships the size of cities and countries, and their SHIPS probably number in the Quintillions by the time they reach Terra.

I haven't come across a fic that mentioned it yet, but according to the HDG wiki an individual affini can theoretically be the size of an entire planet all by themselves, though they usually hover somewhere around twice the height of humans and quite a lot bigger by overall mass.

You can't put the entire Affini species on a planet. You couldn't put the entire Affini species on the surface of a STAR. You couldn't fit the entire biomass of the Affini species inside the VOLUME of the largest known star in the universe.

The scale of the Compact is unspeakably large. They've met hundreds of thousands, if not millions of other intelligent species.

And they've never lost.

They've never come CLOSE to losing.

That's part of the appeal for the fantasy of them. They are very overpowered in-universe, by design. But they are fundamentally a compassionate species.

They see other intelligent beings suffering under oppressive systems or violence or scarcity or war, and they go "we can fix that. we WANT to fix that. please let us fix that. we just want to help you become the best version of yourselves, free from cruelty, so you can thrive as you were meant to. if you don't let us fix it, we're going to fix it anyway, and domesticate your species for its own good, until you understand that you're SAFE now."

And given the intended audience of HDG (queer autistic trans women suffering under capitalist hell and the constant threat of violence while desperately wanting to be loved for our authentic selves), I'm sure you can imagine why a setting whose basic premise is "the one absolute inevitability, the thing that no one will ever stop, is a future where you are safe and loved and happy" caught on like it has.

It feels nice to fantasize about a world where inevitability is coming to protect you, not to hurt you.

Plus the stories are just SO GOOD. So much creativity in the HDG community.

[heathersdesk]

So many works of Latter-day Saint authors have been lost to time because they've languished without ever being republished. Mormon Manuscripts endeavors to bring these texts back to life again through transcription, editing, formatting, and republication.

So many incredible women's voices have been lost to us by going out of print. My emphasis right now is bringing these voices back to us so we know who so many of the early Mormon feminists are that we've forgotten.

Songs and Flowers of the Wasatch, edited by Emmeline B Wells for the 1893 World's Fair in Chicago. Women of the Church in Utah raised their own money to attend the Fair and show the world how educated and articulate they truly were. The poems in this collection are some of the best works produced by LDS women in the 19th century, all by women whose names you've largely never heard of.

Wild Flowers of Deseret by Augusta Joyce Crocheron. She is one of my favorite LDS women I've ever read. Her poetry was composed over her lifetime in California and Utah and captures the memories and stories of her life and faith beautifully. You'll see her work in all three of these books. She was a staunch supporter of feminism and women's suffrage and made no apologies in her advocacy.

Utah Woman Suffrage Song Book by Woman's Exponent. As the earliest publication of the Relief Society, the Woman's Exponent was crucial to community building and advancing the voices LDS women. This song book, created to galvanize support for women's suffrage, preserves the feelings of loss and grief of women who lost the right to vote under the Edmunds-Tucker Act. Did you know that LDS women invoked Heavenly Mother IN SONG against the United States government? Because I didn't! And my life is better now that I've seen it for myself, and could reproduce those efforts in a musical number at Church.

These are only the first of many books I'm preparing for republication. Some true gems that have never been needed more than in the days we're now living through are on the way.

If you'd like to support the project, please consider buying one of these amazing books! And because they're being published without DRM, you can read them on any app or device that can handle an EPUB!

[mybeingthere]

Ningura Napurrula was a young woman in her mid-twenties when she took her first journey out of the Gibson Desert in 1962 to Papunya with the Northern Territory Welfare Branch patrol. After their son received medical treatment at Papunya, Napurrula and her husband Yala Yala Gibbs Tjungurrayi were transported by another patrol back to their own country, close to the present day site of Kiwirrkura. The following year, Napurrula and Tjungurrayi walked back to Papunya with their whole family group as part of a general migration of Pintupi people from their country.

Yala Yala Gibbs Tjungurrayi became one of the founders of Papunya Tula Artists in the early 1970s, and one of the exponents of the classic Tingari painting style that dominated Pintupi men’s painting until the early 1990s. In the 1980s, the family moved back to the newly established Pintupi township of Walungurru (Kintore), then to Muntarti outstation in Western Australia, before returning to Walungurru. Here, Napurrula and Tjungurrayi’s other two wives began assisting Tjungurrayi in infilling the backgrounds of his canvases with the meticulous, precisely placed dots that characterised the Tingari style.

Napurrula first painted in her own right in 1995, in the second year of the Haasts Bluff/Kintore women’s painting project. Following Tjungurrayi’s death in 1998, her painting activity increased dramatically. Her bold, intricate linework and dense monochrome infilling – as seen in Untitled (Wirrulnga), 2000 – are reminiscent of Tjungurrayi’s earliest works. Wirrulnga is an important women’s rockhole site east of Kiwirrkura. Napurrula’s work is strongly charged with the seriousness of women’s business, echoed in the distinctive paintings of fellow Papunya Tula Artists, Makinti Napanangka and Inyuwa Nampitjinpa. Napurrula and Tjungurrayi’s sons, Morris Gibson Tjapaltjarri (Mawitji) and Adam Gibbs Tjapaltjarri, now carry on their mother’s and father’s work in their own paintings.

Vivien Johnson in 'Tradition today: Indigenous art in Australia’, Art Gallery of New South Wales, Sydney, 2014

[sincericida]

About this grifter witch. Let’s not insult trans people by comparing her to them when there are so many legitimate reasons to drag this woman for reasons she actually deserves.

1. She spouts ‘feminism’ ideals and says terrible things online about a strong and powerful feminist (Taylor Swift). What a hypocrite.

2. She is clearly a wack a do con artist with a poorly written website that only a sycophant would believe. I’m sorry, but cons like this SHOULD be outed for the miscreants they are to prevent them from continuing to prey on the weak.

3. She sells ‘magic talismans’ online for an exorbitant cost and I’m sure if we were motivated we could find the same charms she uses on Amazon for $5 a piece. I don’t even WANT to know where or how she claims to ‘bless’ them, but I’m sure they smell fishy afterward. Kendra Scott, she is NOT.

4. What about the absolute tantrums she has online when someone calls her out on her BS? Deep down, she knows she’s a con and her attitude is downright HILARIOUS. Now that she is getting her 15 minutes and it’s not as magical as she probably thought she manifested, this is objectively funny.

5. If she really is separating Andrew from his close friends and family… well abusers should NEVER be tolerated or put on a pedestal.

Honestly, I don’t care who Andrew Garfield (or any celebrity) dates. But this poor man is a lost soul and I truly feel sad for him.

Let's go

That's it anon, no one should be using trans people as a joke or insult in this situation and in no other. As for the nature of the luxury witch and its questionable business activities, the more I see, the more I scare. Incidentally, about these questionable commercial activities involving "magic", I think that hardly is not happening cultural appropriation in this.

I don’t think Taylor Swift is a great feminist exponent. But once you call yourself a feminist - as the grifter calls herself, you shouldn’t go around attacking women online for no reason, whether they’re feminist icons or not.

Yes, the tantrums in the videos are a symptom that the 15 minutes of fame she’s gotten aren’t coming out as she imagined, Since she’s relating to someone famous and very dear, and that would theoretically make her life easier and maybe she was sure that fame and popularity would come in that situation. I also realized that there’s no way she wants to be questioned.

To provoke a person’s separation from his loved ones and friends of many years, is a very, very bad symptom.

As I have said in other answers to questions on this subject, I hope that at some point he will be able to see the situation objectively and jump out of this pierced canoe. We can do nothing but wish the best for him. For the rest, time is the lord of all things.

[beardedmrbean]

President Donald Trump's Jan. 30 executive order to cancel the student visas of Hamas sympathizers on college campuses is being met with resistance.

The editorial board at the Exponent, Purdue University's student newspaper, said it "refuses to be party to such a blatant violation of the First Amendment rights of potentially hundreds of Purdue students."

"That's why, to protect the identities of pro-Palestinian students, we are removing the names, images and likenesses of every such student from our website published since Oct. 7, 2023," the editorial board wrote on Feb. 3. "Further, in future coverage, no such information or images will be published online or in print by the Exponent — no exceptions — until this autocratic attack on free speech is overturned."

Executive Order 13899 aims to combat the "unprecedented wave of vile anti-Semitic discrimination, vandalism, and violence against our citizens, especially in our schools and on our campuses" since Oct. 7, 2023, when Hamas first attacked Israel, sparking the beginning of a 15-month war that has left tens of thousands of people dead.

"To all the resident aliens who joined in the pro-jihadist protests, we put you on notice: come 2025, we will find you, and we will deport you," the president said in a Jan. 30 fact sheet on the executive order. "I will also quickly cancel the student visas of all Hamas sympathizers on college campuses, which have been infested with radicalism like never before."

Hamas is a designated terrorist organization that the Department of National Intelligence (DNI) describes as "the largest and most capable militant group in the Palestinian territories and one of the territories’ two major political parties."

"HAMAS is committed to armed resistance against Israel and to the creation of a Palestinian state, and the group has engaged in several rounds of violent conflict with Israel," according to DNI. "The most recent began on 7 October 2023, when HAMAS launched a massive surprise attack against Israel, killing nearly 1,200 people."

The Exponent's editorial board said it expects "no distinction" to be made between "'pro-jihadist' and pro-Palestinian" when it comes to revoking student visas.

"Anti-war can only now mean ‘pro-Hamas,’" the student board wrote.

"Such twisting of language to be used as a weapon is contrary to the First Amendment, which gives the Exponent its right to exist just as much as it gives the right to students to protest as they see fit. It is the opinion of the Exponent that standing back while our website is potentially used to identify the state's enemies would be directly against those principles," the board continued.

The board added that pro-Palestine protests at Purdue will continue into 2025, but the students they interview at protests "will no longer have their identities published." 

Hamas and Israel's recent ceasefire deal, which paused the deadly war, has led Hamas to release 10 Israeli hostages and five Thai nationals abducted on Oct. 7, 2023, in exchange for Palestinian prisoners and increased humanitarian aid into Gaza. Six Americans remain in Gaza.

More than 46,000 Palestinians died in the war, half of whom are believed to be women and children, though that number could be higher, according to the Palestinian Health Ministry. More than 90% of the roughly two million Palestinians living in Gaza were displaced during the war.

[thedarkat]

« The Party on the Stairs » (1875) Adelaide Sophia Claxton

" La fiesta en la escalera " (1875) Adelaide Sophia Claxton

(English / Español / Italiano)

Adelaide Sophia Claxton  (London, 1841 – 1927) was a Londoner illustrator, painter and inventor of the 19th century. She was one of the two daughters of British painter Marshall Claxton, both Adelaide and her sister Florence followed her father example becoming painters. 

She studied at Cary’s School in the Bloomsbury area, there she began to focus on figure painting in watercolour.

Claxton’s work combines literary and fantasy elements, as ghosts and dreams, with scenes of domestic life. She began exhibiting in the Society of Women Artists in late 1850s and in 1896 she exhibited several times at the Royal Academy of Arts, Royal Hibernian Academy and Royal Society of British Artists, however she kept exhibiting too at the Society of Women Artists.

She worked selling satirical and comic illustrations to more than half a dozen periodicals, being one of the first female artists to get part of her living through commercial press like Bow Bells or The Illustrated London News, Judy or London Society. In Judy she was the chief of the illustrators, becoming one of the first British women to work regularly in the magazine market.

When she got married in 1874, she started to work less as illustrator, turning her interest to invention, in 1890 several patents were registered under her name, as curiosity, some of her inventions were the “Armpit-Crutch for Bed-Rests and Chair-Backs” or “Ear-caps for outstanding ears”.

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Adelaide Sophia Claxton (Londres, 1841 - 1927) fue una ilustradora, pintora e inventora londinense del siglo XIX . Fue una de las dos hijas del pintor británico Marshall Claxton. Tanto Adelaide como su hermana Florence siguieron el ejemplo de su padre y se convirtieron en pintoras. 

Estudió en la Escuela de Cary en la zona de Bloomsbury, allí comenzó a centrarse en la pintura de figuras en acuarela.

La obra de Claxton combina elementos literarios y fantásticos , como fantasmas y sueños, con escenas de la vida doméstica . Comenzó a exponer en la Sociedad de Mujeres Artistas a finales de la década de 1850 y en 1896 expuso varias veces en la Real Academia de las Artes, la Real Academia Hiberniana y la Real Sociedad de Artistas Británicos, aunque siguió exponiendo también en la Sociedad de Mujeres Artistas.

Trabajó vendiendo ilustraciones satíricas y cómicas a más de media docena de publicaciones periódicas, siendo una de las primeras artistas femeninas en ganarse la vida en parte a través de prensa comercial como Bow Bells o The Illustrated London News, Judy o London Society. En Judy fue la jefa de ilustradoras, convirtiéndose en una de las primeras mujeres británicas en trabajar regularmente en el mercado de las revistas.

Cuando se casó en 1874, comenzó a trabajar menos como ilustradora, dirigiendo su interés hacia la invención, en 1890 se registraron varias patentes bajo su nombre, como curiosidad, algunos de sus inventos fueron la “Muleta Axilar para Reposabrazos y Respaldos de Sillas” o “Tapones para Oídos Extremos”.

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Adelaide Sophia Claxton (Londra, 1841 - 1927) è stata un'illustratrice, pittrice e inventrice londinese delXIX secolo. Era una delle due figlie del pittore britannico Marshall Claxton; sia Adelaide che la sorella Florence seguirono l'esempio del padre diventando pittrici.

Ha studiato alla Cary's School nella zona di Bloomsbury, dove ha iniziato a concentrarsi sulla pittura di figura ad acquerello.

L'opera di Claxton combina elementi letterari e fantastici, come fantasmi e sogni, con scene di vita domestica. Iniziò a esporre nella Society of Women Artists alla fine degli anni Cinquanta del XIX secolo e nel 1896 espose più volte alla Royal Academy of Arts, alla Royal Hibernian Academy e alla Royal Society of British Artists, ma continuò a esporre anche alla Society of Women Artists.

Lavorò vendendo illustrazioni satiriche e comiche a più di mezza dozzina di periodici, essendo una delle prime artiste a guadagnarsi da vivere attraverso la stampa commerciale come Bow Bells o The Illustrated London News, Judy o London Society. In Judy fu il capo degli illustratori, diventando una delle prime donne britanniche a lavorare regolarmente nel mercato delle riviste.

Quando si sposò nel 1874, iniziò a lavorare meno come illustratrice, rivolgendo il suo interesse alle invenzioni; nel 1890 vennero depositati a suo nome diversi brevetti, come curiosità, alcune delle sue invenzioni furono la "Stampella per le ascelle per i letti e gli schienali delle sedie" o i "Tappi per le orecchie in sospeso".

Source: Women'n Art

[ifspringwaseternal]

La Mort Parfumee/The Perfumed Death (1921)

by Margaret MacDonald Mackintosh

𓆸 watercolour

𓆸 one of Margaret MacDonald Mackintosh's last works

𓆸 influenced by Egyptian art and burial rituals

𓆸 characterised by abstraction of composition

𓆸 characterised by mannerist representation of the human form

𓆸 harmoniously combines sinuous and straight lines

𓆸 large dark areas are balanced by greys and pastel shades, giving the painting a delicate yet bold appearance

𓆸 the painting has a dreamlike quality to it; death is not depicted as completely terrifying, but rather akin to a slow descent into sleep or as a resignation, somewhat alluring, though not devoid of gloom

❉ Margaret MacDonald Mackintosh was a leading exponent of the "Glasgow style", the Scottish manifestation of Art Nouveau¹

❉ She worked in collaboration with Frances MacDonald McNair (her sister), Charles Rennie Mankintosh (her husband) and James Herbert McNair (her brother-in-law). They were known as "The Four".

❉ Part of the "Glasgow Girls"²

❉ Her mediums of choice were watercolours, beaten metal, textiles and gesso³

❉ Her work is stylised and decorative

❉ She did not use sketchbooks very often, which probably means that her art is made from imagination rather than from direct observation

❉ Some of her influences are folklore, poetry, the Bible, symbolism, Celtic myths and the work of Aubrey Beardsley

❉ Though overshadowed by her husband, her art is no less innovative and remarkable

¹Art Nouveau is a period of Art History between 1890 and 1914 which tried to bridge the gap between the fine arts and the decorative arts. It was influenced by William Morris's Arts and Crafts Movement and is connected to the scientific advancements of the era and to the bourgeois desire for modernisation.

²The "Glasgow Girls" were a group of young women artists and designers active during late XIXth and early XXth centuries. Though they pursued diferrent styles, these women were connected by their shared experiences and by the support they gave one another.

³Gesso = Gesso, pronounced 'jesso', was traditionally used to prepare or prime a surface so Oil paint would adhere to it. Gesso is the same as a primer, as in 'pre-primed canvas'. It is made from a combination of paint pigment, chalk and binder.

Sources

https://www.mackintosh-architecture.gla.ac.uk/catalogue/name/?nid=MMM

https://www.willowtearoomstrust.org/margaret-macdonald-mackintosh-life

http://museu.ms/collection/object/151316/la-mort-parfumee-1921?pUnitId=6677

https://www.nationalgalleries.org/art-and-artists/glossary-terms/glasgow-girls

https://willkempartschool.com/how-to-prime-a-canvas-with-gesso-for-an-acrylic-painting/

Dark/Masculine—Light/Feminine: How Charles Rennie Mackintosh and Margaret MacDonald Changed Glasgow School of Art, María Teresa González Mínguez

Image source - Wikipedia