#this includes my name being franz

[theunconciousmind]

about me

୨୧ Make up your own name for me, I don’t care.

୨୧ I like reading, writing, watching films and shows, drawing, self care, fashion, norman reedus, makeup, video games, listening to music and my vinyls, and shit posting on here

୨୧ topics/things I enjoy: history, philosophy, occultism, mysticism, esotericism, fashion design and modeling, cults and religions, bdsm, literature, writing, movies and cinematography, zaza, photography, norman reedus, exploring, WW2, non current politics and political history, tattoo art, being a weird creepy fag, norman reedus, ancient history, 2000’s pop culture and anything y2k, weapons and guns, anything paranormal, poetry, and cars and motorcycles

୨୧ I freely block literally anyone

୨୧ my visionaries: lana del rey, norman reedus, lady gaga, vincent gallos, amy winehouse, paris hilton, jim morrison, snooki, marilyn monroe, tom hardy, shalom harlow, clara bow, gabriette, megan fox, jeremy scott, mads mikkelsen, aeysha erotica, and father john misty

୨୧ my favorite movies include: marie aintonette, the bling ring, buffalo 66’, lolita, priscilla, six ways to sunday, donnie darko, jennifers body, black swan, johnny 316, psycho, sixteen candles, fight club, boondock saints, lolita ( 1997 ), leon the professional, norman reedus, perks of being a wallflower, texas chainsaw massacre, american psycho, uptown girls, the phantom of the opera, the shining, saw, legends of the fall, the notebook, 500 days of summer, etc, etc… ( I have tons of other movies I really like but these are the ones I can’t live without )

୨୧ my favorite musicians: lana del rey ( and her unreleased obviously), die antwoord, air, alex g, lil wayne, chief keef, amy winehouse, crystal castles, father john misty, aeysha erotica, kendrick lamar, kmfdm, life lover, chet baker, johnny cash, deftones, j. cole, fiona apple, 50 cent, imogen heap, korn, lou reed, marina, a$sap rocky, modest mouse, 2pac, nancy sinatra, eminem, katy perry, ke$ha, ic3peak, hoffmanita, system of a down, nicole dollanganger, princess chelsea, weyes blood, elliot smith, big thief, adrienne lenker, black box recorder, norman reedus, sufjan stevens, boygenius, pheobe bridgers, ethel cain, faye webster, video club, machine girl, radiohead, the weeknd, led zeppelin, sade, cocteau twins, kanye west, the doors and jim morrison, childish gambino, the velvet underground, lady gaga, nicki minaj, sublime, the kinks, the smiths, korn, tool, type 0 negative, etc, etc… ( I listen to a LOT more artists but these are the ones I can’t live without )

୨୧ my favorite authors: ottessa moshfegh, earnest hemingway, donna tartt, vladimir nabakov, leo tolstoy, fyodor dostoevsky, j.d. sallinger, norman reedus, f. scott fitzgerald, anne rice, franz kafka, oscar wilde 

୨୧ my favorite fashion houses/designers: chanel, dsquared2, yves saint laurent, norman reedus, cartier, jean paul gaultier, jeremy scott, agent provocateur, chloé paddington, moschino, miu miu, paco rabanne, 

୨୧ my favorite artists and drawing inspiration: simone legno, akira uno, nell brinkley, fukai kuni, norman reedus, akami watabe, toko ohmori, vampberry ( on insta ), and gustave klimt

୨୧ my favorite/current shows: gossip girl, gilmore girls, breaking bad, the walking dead, supernatural, american horror story, south park, house md, norman reedus, buffy, devilman crybaby, castlevania, new girl, and real housewives ( I have plenty of other shows on my to watch list… trust )

୨୧ my discord is rosiedollie, I promise I’m somewhat nice and love talking to people so reach out if you want

୨୧ I have another blog for my writing and a03 works but it’s under heavy renovation so I’m waiting to tag that account in this post

୨୧ I also have other accounts such as a Spotify and Pinterest but again both are under renovation but I will also be putting those @‘s in this post when ready they’re ready

୨୧ I love my friends… top of my list, the sweetest girl in town: @fawnesque-vanillyee

@legoghini

[cursedreverie1945]

This format is going to be a little different because it’s not just simple facts. I have a lot to say about this bag of hate. Also, this is over 7 pages on Microsoft Word. Buckle up. It's a long one.

@atticuscat

Hans Friedrich Karl Franz Kammler

He was better known as simply Hans Kammler.

He is probably one of the least known but most impactful of the more infamous bags of shite.

His young life was non-descript. There was nothing about really written about his early years that screamed out that he would be one of the worst men or the best at the worst. Depending on how you look at it, of course.

What made him stand out was his dedication to nazism. He joined the NSDAP in either 1931 or 1932, as various news agencies and websites report different dates. He was a rigid ideologue, and held various administrative positions, including being the head of the construction department at the Imperial Ministry of Aviation. In 1933, Kammler joined the SS.

He was responsible for the five-year program to organize concentration camps in the occupied territories of the USSR and Norway. Kammler was also involved in the design of the Auschwitz death camp and others. The sheer attention to detail made him all the more dangerous. The death camps were planned by this man, right down to the methods of cremation.

Kammler believed “subjugation” would require the murder of 20-30 million people from the Eastern Front, plus from the murder of what he considered undesirables.

It is known that Kammler organized the SS Special Staff in the section of the "Skoda" company located in the German Protectorate of Bohemia and Moravia. This would have been under the control of Reinhard Heydrich at the time. I have no idea how much Heydrich would have known about this, but knowing that bastard, I imagine it would have been most everything.

In March 1942, Himmler officially transferred the management of the "Skoda" plant to the SS, a giant industrial complex located in Pilsen and Brno. Speer knew nothing about this operation until he was informed about it as an accomplished fact.

In 1943 Kammler was appointed the Reichsführer SS special representative for the "A-4" program, otherwise known as vengeance weapons. He was put in charge of construction work and labor supply from concentration camps. The camps that worked their human slaves to death, on a quite literal level, were part of this man’s signature.

“The Holocaust would not have been as ‘efficient’ were it not for Kammler,” said Dean Reuter, author of “The Hidden Nazi: The Untold Story of America’s Deal with the Devil,” “He was integral to the evolution of mass murder.” We’ll get back to Reuter later.

In March 1944, Kammler became a representative of Himmler in the "aviation staff," which consisted of senior officials from the Luftwaffe and the Ministry of Armaments.

Reichsmarschall Hermann Göring, the head of the Luftwaffe and Hateler's nominal successor, tasked him with moving all strategic aviation facilities underground. From March 1944, Kammler supervised the construction of underground factories to produce fighter aircraft.

The bombing of Germany had become so prevalent that they wanted to move everything underground to possibly get ahead in the war machine. Obviously, as I sit in my American home, speaking English as my native language, and being quite liberal in my politics that involves having told a vast number of politicians in my lifetime that they were vile bootlickers, you can see how well that worked for Kammler, Himmler and Hateler. Also, what is up with Kammler and Himmler? They sound like names from some fascist cartoon.

After three months, Himmler reported to Hateler that ten underground aviation factories with a total area of tens of thousands of square meters had been built in eight weeks. EIGHT WEEKS. The sheer work that goes into something like that is virtually unheard of today.

 In August of 1945 the Allies sent a list of six underground factories that had been penetrated to the U.S. Air Force headquarters in Europe. Each of these factories continued to produce aviation engines and other specialized equipment for the Luftwaffe until the last day of the war.

These factories occupied 3 – 16 miles approximately for my fellow Americans and 5 to 26 kilometers in length for the rest of the world. Tunnel sizes ranged from 13 feet to 66 feet or four to twenty meters in width and five to fifteen meters in height; workshop sizes ranged from 42,651 to 80,202 square feet or 13,000 to 25,000 square meters.

Don’t get me started on the feet vs meter thing. It’s a thorn in my side that the US is so damn backwards. Anyway, it’s a lot of land mass.

By mid-October 1945, a report sent to the U.S. Air Force stated that many underground factories had been discovered, much more than previously thought. These underground facilities were found not only in Germany and Austria but also in France, Italy, Hungary, and Czechoslovakia.

The report stated that the Germans had managed to launch about 143 such factories by the end of the war. Another 107 factories were discovered, built or laid down at the end of the war, in addition to 600 caves and mines, many of which were turned into conveyor belts and weapon production laboratories. It can only be speculated what would have happened if the Germans had gone underground before the war began, concludes the report, clearly impressed by the scale of German underground construction.

On August 8, 1944, following Himmler's appointment as head of the Ministry of Armaments, Kammler became the chief executive of the "V-2" project.

Kammler managed the entire process, from production and placement to conducting military operations against England and the Netherlands. He personally directed the rocket attacks. This position, thanks to his attention to detail, allowed Kammler to study the entire process of managing the strategic weapons program, an opportunity that had not been available to anyone else in the third reich.

Himmlers Hirn heißt Heydrich und Himmlers Hirn heißt Kammler.

I’m going to go off on a tangent here. Himmler really didn’t have anything more than an average IQ from everything I have read over the years. He was a toady little man, not much to look at in the general sense. He was, however, excellent at picking his people. Hans Kammler was one of them.

You don’t get the equivalent of a PhD without attention to detail. Trust me, I know this as fact, personally. The sheer amount of attention to all the details and thinking outside the box is so danged important. With some people, it is dangerous.

The war was falling apart for Germany. Perhaps the public didn’t know that because of Goebbels’ propaganda, those that were in command? They knew. They were done. There was no chance of winning the war for the nazis.

Around the very end of January 1945, Kammler became the Hatler's authorized representative for the development of jet engines and the leader of all rocket programs, both defensive and offensive.

Hateler permanently transferred all responsibility for air armaments such as fighters, rockets, and bombers to Kammler. In early April 1945, when the Soviet army was already approaching Berlin, Hateler and Himmler handed over to Kammler all the secret weapons systems of the third reich, which had no equivalents among the countries of the Allies.

The work of the scientists in Kammler's headquarters as unparalleled among other late-war technologies, even the "V-1" and "V-2" projects seemed ordinary in comparison. The list of special projects included nuclear installations for rockets and aircraft, advanced guided projectiles, and anti-aircraft lasers.

An important point is that the testing was not carried out at "Skoda" itself but in field conditions. Thus, Kammler's Special Staff functioned as a coordinating research center.

After the meeting with Hateler on April 3, 1945, Kammler moved his headquarters (not to be confused with the Special Staff) from Berlin to Munich. Before leaving Berlin, he made a farewell visit to Speer, during which he hinted that Speer should also move to Munich and that the SS was attempting to eliminate Hateler.

Kammler then informed Speer that he planned to contact the Americans and offer them everything in exchange for his freedom - "jet planes, as well as A-4 rockets and other important developments." He also revealed that he was gathering all qualified experts in Upper Bavaria to hand them over to the U.S. Army.

"He offered me a chance to participate in his operation," wrote Speer, "which undoubtedly would work in my favor." Speer, however, is not a reliable witness and wrote/told a lot of lies in his work. Still, Speer declined.

It was unheard of that these sons of bitches in leadership could possibly believe that Kammler would/could/should work miracles. In April of 1945, Goebbels wrote in his diary: "The Hater had long negotiations with Obergruppenführer Kammler, who is responsible for the reform of the Luftwaffe. Kammler is doing his duties superbly, and great hopes are placed on him."

WHAT THE ABSOLUTE FUCK. I am utterly serious. Were these men delusional? The beginning of April. Hateler would commit suicide less than a month later and Goebbels could possibly believe this load of shite? My honest thoughts on Goebbels’ diaries were absolutely meant for someone else to read them by this point or earlier. He knew that the diaries would be scrutinized by others and so he would be the biggest supporter of nazism.

All these research programs represented by SS Obergruppenführer Hans Kammler, it is surprising that his name is hardly mentioned in references to the Luftwaffe or its major programs. However, despite this, Kammler was at the head of a top-secret research center. He was the ‘forgotten one’.  However, was this on purpose?

I’m all about forgetting nazis in a sense. Their names and legacies should be forgotten. It is not so simple. We must remember them, or it will happen again.

Throughout all of this. Throughout all the insane things that Kemmler had accomplished. How he was told to work faster and harder on setting up the camps, while he stated it was the conditions that were the problem. Those problems were the extreme cold, lack of supplies, and poor labor. When you use dying people for labor, there usually is a problem. Idiots.

Once again, what happened to him after the war was what truly interests me. He was one of hundreds, if not thousands of men that potentially could have done the exact same job with the exact same outcomes.

For a very long time it was thought that he committed suicide in 1945. The suicides after the war were numerous, over 7000 in Berlin alone.

Decades passed, it was assumed Kammler died by suicide or was killed shortly after liberation in 1945. Reuter’s book, however, demonstrates that Kammler was “delivered” to US authorities by rocket scientist Wernher von Braun, who feared that Kammler’s secrets — and colleagues — would fall into Russian hands.

Oh my, does that plot ever thicken.

“Kammler and the Americans created the deal wherein he gave them the rocket team, and they erased his past,” Reuter said. “As part of that deal, we covered up his death and the world accepted that he died.”

Remember, this accusation is that of a writer. I could easily tell you that my father’s fourth cousin twice removed was Kammler. Given that Ridding The World Of Nazis Is A Family Tradition, nah. Not feasible. I have that on a t-shirt.

Going back to Reuter, as part of “Operation Paperclip,” US authorities sought to capture German technical experts to use in the space program. Beginning in 1945, an estimated 5,000 German scientists and technicians were brought to the US, including “severely tainted men who were involved in the Holocaust and the use of slave labor.”

Are we great yet? Nope.

No released official documents have been found that list Kammler having been brought over to the US. No official documents have said he wasn’t. The problem with Kammler was quite simple, he knew too much. That made him a target. If you have a special target, you don’t go around being a pick me.

“Gerald Fleming, a leading Holocaust researcher, wanted certainty but could not find sufficient evidence to prove that the suicide narrative was not true. Fleming urged us not to let the story rest but to continue the research.

In the article „Ein inszenierter Selbstmord. Überlebte Hitlers „letzter Hoffnungsträger“, SS Obergruppenführer Hans Kammler den Krieg? [A staged suicide. Did Hitler’s “Last Hopeful,” SS Obergruppenführer Hans Kammler, Survive the War?], published in the Zeitschrift für Geschichtswissenschaft in 2014, for the first time declassified documents and statements were presented which suggest that Hans Kammler was captured by the Counterintelligence Corps, an American military intelligence service. The most important evidence for this thesis was a report by special investigator Oscar Packe dated August 1949. Packe, who worked for the department of the U.S. military government in Hesse responsible for denazification, concluded his report as follows: “The suicide of the subject, suspected and allegedly confirmed by the witnesses, is refuted by the CIC’s precise information about his capture and escape in May 1945. Evidence that the subject is now in Soviet custody and is to work in the Soviet occupation zone of Germany could not be provided here.

Packe had been informed by the CIC of Kammler’s capture and subsequent escape. Was it possible for a high-ranking SS general and his staff to escape from American captivity? Was he really arrested with his staff at the Messerschmidt works in Oberammergau, as the Packe report states, “by American troops on 9 May”? And was able to escape from there with senior SS leaders of his staff? Did the events in fact take place near the underground Messerschmitt plant “Bergkristall” in Gusen, near Linz? It is likely that Packe did not learn the true circumstances of Kammler’s arrest from the Counter Intelligence Corps. Recently Donald W. Richardson, a special agent of the CIC and the Office of Strategic Services (OSS), has emerged as a key. Shortly before his death, he told his sons that he had brought Hans Kammler to the United States. For reasons of national security, he had to remain silent about it. Despite these sources and Richardson’s statement, doubts about the chain of circumstantial evidence persisted.” – The Wilson Center

In any case, Kammler’s disappearance was a great advantage to the rocket developers around Wernher von Braun. Why? They were able to blame all crimes against concentration camp inmates and forced laborers related to the production and use of V-weapons to the SS, presenting themselves as apolitical engineers. Apolitical. Right. As if anyone believed such a story. These men and women were useful. Very useful. Being useful gave them the freedom not to be hung at any of the numerous trials against the other nazis.

The biography of Hans Kammler must be corrected in a central point: It does not end on May 9, 1945. What happened after that can only be clarified after the discovery or the release of relevant documents as well as the interrogation records.

For now, at least we know that the bastard is dead. Pretty sure there is no way he would be alive at 124 years of age.  We also have no idea what the ever-loving fuck happened to one of the worst men of WWII.

[fitzrove]

The insane story of how Pia was cast as Elisabeth

"Still completely overwhelmed by the offer to play this role - not just any role, but the main role in a world premiere - I began to study not only the book of the play, but also the story of Elisabeth of Austria. [...] What is the historical truth, which real figures are behind the roles in the musical? All of these questions suddenly became relevant to me, and I found all of the answers to them in Hamann's books. [...] While studying the countless photos of Elisabeth in the picture section of the book, one particular image suddenly took my breath away. When I looked at the photo of the empress's death mask, I thought I recognized the delicate facial features of my colleague Pia Douwes.

What happened next is something Pia still likes to tell as an anecdote. After a performance of Les Misérables, I showed up in a coffee house with that book in my hand, put it on the table in front of Pia, turned to the page with the picture of the death mask and said: "Pia, look, that's definitely you!" She replied, somewhat piqued: "Hello, Uwe, that's a death mask and I'm sitting here and I'm still alive. Thank God!" Despite my uncharming comparison, she couldn't deny a certain resemblance. Apparently, that evening I spent a long time chatting to her about all the details I already knew - the musical and the historical details about the empress. A plan had been maturing in my mind for a long time: I wanted to stand on stage alongside Pia in the role of the empress, or at least I could imagine it very well. In Vienna, the castings for the title role had long been underway and were almost complete, but Pia nevertheless began to put out feelers through contacts in the scene. Names like Dagmar Hellberg and Daniela Ziegler had already been mentioned, and the division of the role within the play between a young and an old empress was also being considered. [...]

As chance or fate would have it, director Kupfer had to go to the Amsterdam Opera for work, and so he and his production team, including Viktor Gernot, who had flown in especially for the role of the already-cast Emperor Franz Joseph, took the opportunity to conduct a casting for the title role on site. After Pia had sung "Wie du" and "Ich gehör nur mir", everything was clear for Sylvester Levay, who was also present at this important decision. The subsequent duet with Gernot was just a formality."

From Uwe Kröger's autobiography "Ich bin, was ich bin. Mein Leben". Amalthea Verlag 2014.

[eros-vigilante]

The Many References in Teniwoha's Samsa

If you haven't read "The Metamorphosis" by Franz Kafka, the one thing you likely know about the short story is that in it a man turns into a bug. And this is enough to recognize the allusion of Samsa being named after the protagonist, Gregor Samsa, as well as the imagery of a dragging tail and onomatopoeia of "zuki". However, there are several deeper layers to Teniwoha's symbolism of themes and references to "The Metamorphosis" that add a great level of cohesion with Immiscible Discord's story. First, I would like to say that "The Metamorphosis" can be found as a free pdf online, and is a very good short story, so if you have the time and energy you should read it. This post will only be summarizing the themes that are referenced in Samsa and Immiscible Discord and will not include some of the other great commentaries Franz Kafka has. And of course, it will spoil the progression of the plot. Also, all quoted lyrics are from Amiaryllis' english cover, which is also very good and worth listening to. The lyrics will not be quoted in order.

The biggest and first theme the surrealist nature of the story expresses is that Gregor Samsa has been led to - and does - believe that his worth is tied to his ability to work. When he discovers he is a bug, he is only concerned because he is going to be late for his job if he cannot figure out how to get out of bed in his new body. He is determined to go to work because his entire family relies on his job to pay for their lives. ("i've grown monstrous down to the very core of my soul") This is comparable to Mafuyu's relationship to academics. Their mother relies on them to fulfill her dream of Mafuyu becoming a doctor, and so teaches them that nothing matters as much as this goal. Even when Mafuyu is stressed or physically ill, they push themselves to attend school, club activities, cram school, and study. Mafuyu's academic performance is their worth to their mother, as Samsa's income is his worth to his family. ("so could the bravest of souls face me and bear the toll?") When Samsa's family discovers he is an insect, they are horrified. Samsa finds this reasonable as he also considers his form monstrous. It is another theme of the story being from his perspective that he has good faith in his family to the point of seeming either naive or to have a low self-esteem. Actions that are most easily justified as disgust and hatred are rationalized by him, despite acknowledging at points that his family was not as affectionate to him after they began relying on him for money, as well as acts of physical violence such as his father shoving him back into his room.

("those painful fights, fearful nights") This is an interesting thing to compare to Mafuyu's experience of being gaslit by their mother. They believe very strongly- because they were told- that everything their mother is doing is for them, their future, and is in their best interests. This prevents them from questioning her actions and sacrificing their own desires in a self-destructive manner, which is also something Samsa does. For instance, he hides himself with a bedsheet so his sister does not have to see him when she brings him food, despite him finding this uncomfortable. ("craving any smile or attention just from you") Samsa's sister is the only one who still shows affection towards him, as she is the one who brings him food, but eventually she too festers fear towards and dehumanizes him. By the end of the story, the entire family blames their despair on him becoming an insect and no longer believe he is Gregor Samsa. The most direct reference to the story in the lyrics is when his father throws apples at him and has to be stopped from killing him by his wife, Gregor's mother. He crawls back into his room and he is locked inside. ("i beg, don’t throw those rotten apples at my chest before they lock up, lock up samsa") This could best reference when Kaito says that Mafuyu's mother is killing their feelings or true identity. Additionally, Mafuyu's mother places all blame for Mafuyu's recent behavior on Kanade's influence. And as the family plans for their life after his death, Mafuyu's mother tells Kanade that she plans to convince Mafuyu to go back to doing what she wants, no matter how extreme she must be about it. ("if it all goes to plan, then, we’ll soon rejoice") In the end, Gregor Samsa stops eating, and dies of starvation. All the while, he still thinks fondly of his family and believes they are in the right for their treatment of him. Gregor Samsa is used to form a strong representation of the extent to which Mafuyu has been gaslit. ("so please don't tell me that you'll be giving up on reality, samsa") The biggest difference (other than the bug transformation) is that Mafuyu has people who still dearly care about them, and not just for what they can provide. While all of Gregor Samsa's family abandons him, the other members of Nightcord do not abandon Mafuyu. Mafuyu has a reason to live, and people to tell them that they do not deserve to be locked away. ("i know that brilliant light will shine as the clock strikes 25")

He could already hardly feel the decayed apple in his back or the inflamed area around it, which was entirely covered in white dust. He thought back of his family with emotion and love. If it was possible, he felt that he must go away even more strongly than his sister. He remained in this state of empty and peaceful rumination until he heard the clock tower strike three in the morning. He watched as it slowly began to get light everywhere outside the window too. Then, without his willing it, his head sank down completely, and his last breath flowed weakly from his nostrils (Franz Kafka).

[macademiastudies]

Nov. 9th Journal

Day one of the 50-day challenge

🦉 Habit 1: Studying - Data Analysis Course Assignment Unit 3 - Data Analysis Course 3.3 - Data Analysis Course 3.4 - Do one practice with Cognos - Type out the rest of my handwritten notes - Complete the Text-Based Python Slot Game - Make a wireframe for the app I've been wanting to make for years

🍂Habit 2: Physical Activity - 10 minute AB workout - 30 minutes of walking 🕯️Habit 3: Self-care - No soda today - Include one vegetable in every meal - 1/2 bottle of water today (gotta start small) - Hang my clothes - Do my hair with heatless curls - Fill up a lip care tube for myself - Set up my home office desk 📰 Habit 4: Reading - You Need a Budget, by Jesse Mecham (100 Pages) 🏛️Habit 5: Language Learning - Really sit down and think about what I want to learn, because right now I want to learn it all

🎻 Song of The Day: Mouvement I, Voyage Vers la Lune - Franz Gordon 🤎 Quote of The Day: “There is no shame in not knowing something. The shame is not being willing to learn.” - Alison Croggon, The Naming 📜 Currently Studying: Python, Data Analysis 🪶 Recommendation of The Day: please start learning that new school you've always wanted to. It's never too late to change an old habit or to learn a new skill. There are a lot of internal and external struggles when you begin but the entire Journey and learning by itself is always worth it.

Images are mine but please just credit if you use!

This Challenge is entirely credited to @ros3ybabe

Divider credits to @strangergraphics

[junkygraysheep]

18, 25, and 28 for Kuguri?

Ohhhhh Kuguri Domeki how you drive me wild. It took me a little bit to get to this because of how long I was typing these answers up but I’m always happy to talk about him!

18. How about a relationship they have in canon with another character that you admire?

One thing I love about Liber games is how interconnected the cast is, so I could put a million things down here. Obviously, I love how twisted and fun his onesided hatecrush on Raito is. I love his little pact with Kinari and how deeply intertwined they are now. And, I like basically everything he has with Ev3ns (Nayuki included). But strangely enough I kind of want to talk about him and Nanaki as cousins/distant relatives? I’m not exactly sure where in the family tree they fall, but you can tell Nanaki deeply admires and looks up to Kuguri, and that in general music is something very important to their family. But, while Kuguri is no longer playing piano the way he did and branched out into a very different life post-accident, Nanaki’s made a name for himself as an utaite and is still very, very deeply involved in music. While Nanaki’s love is sweet and pure and all-consuming, Kuguri’s is warped and often intersects with both hate and lust. Nanaki is almost like a pre-accident Kuguri in a way, and I love comparing the two but I also like how closed off Kuguri’s been to his family and how you can see that in his dynamic with Nanaki? If they ever add rookies to the roster like A3, I’d want Nanaki’s older brother to join R1ze, and I want a major part of the main story to be Nanaki’s brother, Nanaki and Kuguri sitting down and having a genuine conversation about their shared, yet separate grief- For Nanaki and his brother’s dead uncle, and for Frederick. I think it’d be fun

25. What was your first impression of this character? How about now?

I think I was one of few people actually paying attention to 18trip as it started (I hate them as a company but I do love Liber games despite everything) and he caught my eye for sure at first. Goth character, voiced by Faust’s stageplay actor… When 18trip officially came out, I was overseas and then immediately had a con to go to, so my girlfriend got to it first and said that I’d end up really, really liking Kuguri. I was attached to Netaro first but I read Kuguri’s novel (all that was translated for a little bit!) and some card stories and was never the same. Oh Kuguro Domeki you drive me wild

28. If you could have this character meet another in another media, who would you have them meet?

I always say that Kuguri Domeki does all Shion does and more (hypersexual abuse victim, white haired whore, canonical felon, disabled but the fandom doesn’t want to recognize that) but I don’t think anything good would come of them meeting (though, I think it’s funny because in my head Kuguri loves acting the part but isn’t really truly much of a dom/top at all, while Shion ACTUALLY is and so. Maybe that would be good for them both idk glad they’re having fun). I DO have a ton of other answers though… I think Kuguri and Shin from Helios would be fascinating in a room together. I’ve joked before Liszt from Classicaloid is Kuguri’s abusive mom but, that aside I think both of them would have a really interesting conversation about what love means to them (and in general, the two of them both being Franz Liszt reincarnations in a way). Kuguri is basically both the Azuma A3 and the Raku Ichu of 18trip, I think he’d have a lot to say with them both. Maybe my most oddball pick here though? I think Felix Argonavis could fix Kuguri

[archduchessofnowhere]

I'll admit long before "The Empress" existed I got confused on two of Sisi's sisters being named Maria Sophie (or Marie Sophia?) and also Sophie. I know, I know, but honestly did confused me. If the show can pick new names, I think Maria Sophie's third name Amelia (pronounced in the more Italian version of Amalie/Amélie) would be my own choice.

Hi anon! Honestly I think that, if on top of every inaccuracy in that series, they had also renamed Marie as Amalie, I would've become the Joker jfkf.

Ok for real, up to a level I understand wanting to avoid repeating names, specially with such a small cast. Calling Franz Karl just "Karl" is not the end of the world, specially since they didn't write Karl Ludwig into the series. He was a very minor character in season 1 anyway.

But "Princess Marie" is simply inexcusable bad writing. You're creating a series about Elisabeth of Austria and decide to include her brother-in-law Maximilian as a prominent character. You know that Maximilian will get married in 1857 to a Belgium princess called Charlotte who is just as known as him if not more, they're a basically package deal. You expect, I assume, to get multiple seasons. I would also assume, then, that you are planning in covering several years in those seasons. So you know that, eventually, you will have to write said Charlotte into your series, you signed up for that when you included Maximilian in the first place. You also want to keep things simple in your series, so simple in fact that you refuse to repeat characters' names. Ok, fine, those are your rules. Now tell me, with all this in mind, why, just why would you give a fictional minor character the same name as a character that will be far more prominent in the next season of your show?

It just betrays such a lack of planning that it makes me mad. If they didn't want to repeat names for fear of confusing the audience, then "Charlotte" should've been off the limits since the beginning. At first we speculated they were calling Josephine Thiesen's character "Princess Marie" to keep it a secret and make a big reveal. In reality, they were calling her that because instead of just having two Charlottes, or start calling the ficctional Charlotte by her title to tell them apart, they decided to rename the real woman. It's just so, so dumb.

And Marie's character ended up suffering from this mess as well, because she also had to be renamed to accommodate to the "no repeating names" rule. Now going back to what you proposed, that was also not possible for these screenwriters, because the redhead lady-in-waiting that Leontine kills in season 1 was called Amalie. So yeah I guess Mimi was the best they could came up with lol.

[acreaturebythewater]

What single track would you use to introduce your bg3 OC?

thank you for the tag @scandistar <3 this game was hard (how do i choose one song omg???) but also so much fun!!

🗣 Rules:

Pick 1 song for each OC!

Include a link to the song/artist/composer

You can add more than one OC (but no more than 3)

brief canon/lore (I'm a curious sort)

Tag people!

tags for: @redroomroaving @lizziemajestic @judasiskariot if you want to <3

(Note: Any fandom is welcome to join!! And please, don't forget to link to your fanfics so we can find them! It's time to shine, babes!)

my beloved tav from a change of heart who i have no screenshots of so you're getting a couple of picrews

picrew 1 and picrew 2

Tav/OC name: tavaxeni tumbledown Level: 12 (10 pre-canon) Race: tiefling Born: baldurian (tumbledown) Background: criminal/soldier Class: rogue thief/fighter multi class Alignment: chaotic neutral Love interest: no aradin Sworn enemy: happiness, it seems.

backstory short: growing up on the rugged outskirts of baldur's gate on her grandmother's small farm, she spent her childhood ditching school (she's really bad at reading and counting (go to school kids!!!)), roaming the streets, fighting with the brampton boys (probably didn't get killed because she was faster and better at hiding than them), nicking things off whoever looked like they could afford losing some gold, got thrown in jail a couple of times, got better at lock picking her way out of jail. joined a semi-legal mercenary band to "straighten herself up", sort of just ended up working a lot of security for the rich tossers that she loathes the most. cares for her people and the less fortunate and would probably be a folk hero is she didn't cut corners and made impulsive and stupid decisions.

i have a playlist for the fic, some are relationship songs and some are just for her. it was sooooo hard to choose one but this one's both vibe and a bit of lyrics.

don't look back into the sun - the libertines

Don't look back into the sun You've cast your pearls, but you're on the run And all the lies you said, who did you save?

...

They will never forgive you, but they won't let you go (let me go) She will never forgive you, but she won't let you go, oh no

(other honourable mentions: the fallen AND bite hard by franz ferdinand, take aim by kasabian, do me a favour by arctic monkeys, better in the dark by jordana & tv girl, do the right thing by d.i.d)

~*~*~*~*~*~

tav number 2! (or number one, truly, my golden child) from you keep showing up

(same picrew makers as above (and her hair should be a colder brown in the right one smh))

Tav/OC name: ester tavanthuriel Level: 12, 15 pre-canon Race: moon elf Born: evereska Background: noble Class: storm sorcerer Alignment: chaotic good (or chaotic whimsy as someone described her in a comment which i really liked) Love interest: raphael Sworn enemy: [redacted]

short backstory: as the second child of an evereskan noble family, she was born with both a silver spoon and the lucky feat. really, i mean it, spoiled rotten for a century!!! but as it is with second children, they have the purpose of being used in political marriages. now, tav's a free spirit, and getting tied down in marriage was just about the last thing she'd like to do with her life. thus, she postponed it through arguing she needed to pursue academia for a while and went to silvery moon. spent a couple of years there before fucked off and traveling the sword coast, spending a decade here and there (ran a potion shop in neverwinter, a restaurant in waterdeep, went to baldur's gate to open up a flower shop before getting snatched by the nautiloid), ignoring the letters and sendings from her family but still picking up the gold they sent her way (spoiled rotten, as i say. though that's kind of her parents way of showing love since they don't really know how to talk to each other without putting their own expectations on tav and making her lash out). and here we are!

i do not have a playlist for this fic or for tav so i had to think long and hard about this one... (technically it should be you keep showing up by drowners but it has nothing to do with them except i thought the title was fitting lol).

sprawl ii - arcade fire

now this one's a feeling, i can imagine her listening to this as a young elf in her room, wanting to see the world and what's beyond.

[recurringwriter]

Top 5 CoMC characters (so far) :P

akldjgh i was hoping this would be asked!!

The Count. how can he not be? i loved him as sweet young Edmond, and i love him as this mega wealthy angel of justice. he scares me SO MUCH (affectionate)

Franz D'Epinay. i don't know if i'm supposed to like him, but he's hilarious to me. he's so freaked out by the Count but also obsessed with him. super relatable. voice of reason while also being so parisian

Luigi Vampa. first of all. coolest name i ever read. second of all. famed bandit who answers to one man (The Count). there's so much potential there

I have only had Eugénie Danglars for one chapter but if anything happens to her-- no but seriously i am very eager to learn more about her. the introduction mentioned her so i was kind of waiting for her appearance, and i'm really excited to see what happens there

i have to say it. Countess G--. it's so funny to me that Dumas name-drops so many real people but when it comes to lord byron's mistress, he's like 'i HAVE to include her but i CANNOT name her'. she reminds me of manuela a bit. she's scared of vampires. she is glamorous and intriguing

Shoutout to: Caderousse (i did the scene where Edmond bribes him with a diamond while disguised as Abbé Busoni in puppet form for my French Oral Exam in grade 12), Julie, M Morrel, and now Albert. I was soooo against Albert at first but I'm rapidly coming around on him, he's precious. Haydée!! i definitely want Eugénie to be able to meet her in person 👀

below are my puppets:

[petercapaldi-press]

INTERVIEW

Peter Capaldi: ‘Don’t worry, I don’t suddenly think I’m a rock star’

Sun 14 Nov 2021 10.30 CET

Michael Hogan

The actor on political corruption, the genius of Terence Davies and making a solo album in his 60s

Peter Capaldi, 63, studied at Glasgow School of Art and landed his breakthrough acting role aged 24 on the film Local Hero. He’s best known for his Bafta-winning performance as spin doctor Malcolm Tucker in political satire The Thick of It and as the 12th Doctor in Doctor Who. His film roles include The Personal History of David Copperfield, The Suicide Squad and Paddington. As a director, he won an Oscar for his 1993 short film, Franz Kafka’s It’s a Wonderful Life. At art college, he was briefly in a punk band; four decades later, he is releasing his first solo album, St Christopher.

You’re releasing your debut album aged 63. How did that happen? We just set out to have some fun. My friend Dr Robert from the Blow Monkeys is a terrific musician and every year he hosts a kind of happening where disparate musicians come together for a recording session. He knew I played guitar and leaned on me to come along. It was very exciting to watch the real deal at work, so I scribbled out a song and they turned it into proper music within a day. I loved that, so with Robert’s encouragement, I had a go at writing more.

You wrote most of the songs in America, right? Yes, I was shooting the Suicide Squad film in Atlanta for four months and had a lot of downtime, so I bought a cheap electric guitar and made demos on GarageBand. I’d send them to Robert, who very sweetly rejected a whole pile of my efforts until eventually we had enough to take into the studio. We’d booked Konk Studios in Crouch End, north London, which was great because it was the Kinks’ old studio and I love Ray Davies. That was cancelled due to lockdown but we sent the demos back and forth until we had something that appeared to be an album.

Why the title St Christopher? I was always intrigued why the Catholic church got rid of Saint Christopher, who was a fabulous saint. They decided he wasn’t real but by then, it was too late because everyone liked him. The public saved him, rather like a TV talent contest. It’s a very showbiz story.

What are the album’s lyrical themes? I was in a band at art school and our obsessions back then were melancholia, punk, synthesisers, power chords, rain and being pale and interesting. I fell back into that studenty groove. Although when you’re making your first record at 63, some of rock’n’roll’s traditional subject matter is closed to you. Don’t worry, I don’t suddenly think I’m a rock star. It was just some friends doing stuff they enjoy that got a bit… elaborate.

As the Doctor alongside Pearl Mackie. Photograph: BBC/PA

Your college punk band was called the Dreamboys. That’s right, the worst possible name. We were trying for a nightmarish Kafkaesque or Dr Caligari feel, not a troupe of Chippendales-type male strippers. On drums was Craig Ferguson, who went on to become a comedian on American telly. Craig was always hilarious. A powerhouse of a drummer, too.

How successful was the band? We did OK, got our record played by John Peel and were part of a thriving scene. But after a while, we were banging our heads against a brick wall. In the old days, we’d put a song on tape, send it to a vinyl pressing plant in France, then physically take it around record shops, begging them to take a few copies. Now, technology allows anyone to put stuff out there. It’s democratised music, although it’d be nice if streaming services spread the money around.

Who are your musical influences? The usual suspects for someone of my generation: Bowie, Lou Reed, Talking Heads, Sex Pistols. At art school in 1976, we all arrived dressed as Neil Young, with long hair and army greatcoats. When the Pistols happened, we came back the next term with peroxide hair and leather trousers. OK, plastic trousers. It was only in later life that I got into Dylan and Leonard Cohen. When you’re trying to write lyrics, they’re the ones to study.

Was your Doctor Who costume partly inspired by David Bowie? Yeah, him and David Lynch, who used to do that buttoned-up white shirt thing. Another reason was I thought kids could look like the Doctor without having to spend any money. Rather than buying a costume, they could just button up their school shirt.

Your Doctor also wielded an electric guitar. Was that your idea? Between my first and second seasons, I said it’d be fun if the Doctor had a guitar to plug into the Tardis console. It was just an idea, I never dreamed it would happen. I imagined the Doctor might have invented the wah-wah pedal. We could’ve done an historical episode where he met Jimi Hendrix and introduced him to this piece of alien technology. I also thought there could be a great blues episode. When Robert Johnson meets the devil at the crossroads, the Doctor could discover something extraterrestrial going on.

What would Malcolm Tucker make of the Owen Paterson and Geoffrey Cox affairs? The whole thing is so awful, it’s beyond a joke. I wouldn’t invoke Malcolm Tucker in these circumstances. We’re in real trouble and people have to wake up to this. Actually, maybe Malcolm could shout and help wake them up to this terrible government.

Succession fans often come up to Brian Cox and ask him to tell them to fuck off. Were Thick of It fans similar? It used to happen a lot. You could say “Fuck off and get a life”, which was quite enjoyable. Sometimes they’d get me to phone up their mates and give them a bollocking. It’s great to see Brian’s success. He’s an astonishing actor.

You can sometimes hear an echo of Malcolm Tucker in Succession’s dialogue. Well, some of the writing team are Thick of It veterans. Armando Iannucci’s influence over two generations of writers and performers is immense. You can trace Succession back to him in a way.

Next up you play Siegfried Sassoon in Terence Davies’s film Benediction. What drew you to that role? Sassoon is a fascinating character and a wonderful poet but it was Terence who interested me more than anything. He’s an absolute artist who’s made some of the most amazing moments ever put on film. He’s a treasure of British cinema, a chronicler of our culture and it’s a scandal that he struggles to get finance for his not-very-expensive films. People like him should be cherished and supported.

If you had your time again, would you still be an actor? I wouldn’t change anything. I would’ve loved to be a professional musician but that would’ve also had its ups and downs, so I’m happy to be coming to it at this late stage. My life has been enormously blessed. All the side-waters and strange corners I’ve gone around have made me who I am.

St Christopher is released on 19 November by Monks Road Records. Benediction will be in cinemas early 2022.

[saysike-skedoodles]

Well Do Ya? [+update]

[BTW- if you're an account that does NSFW/ Fetish content, I kindly ask for you to not interact with my work. Please don't take this the wrong way, I respect your interests, but I'm uncomfortable with that content and wish to not engage with it :] ] ---

EVEN MORE BEX ART!!!! OK to be fair she has a new outfit in this sooooo it's still fine- hopefully. Eh, she's an adorable cat so I think it's a win I drew her again. I've been getting more and more into Franz Ferdinand's music and while I'm more on the loud/aggressive side of rock with the likes of Green Day, Andrew WK and all that- I still REALLY like how groovy Franz Ferdinand's stuff is. SO I MADE A DRAWING BASED OFF OF ONE OF THEIR SONGS! That being 'Do You Want To', REALLY good song, loads of Bex vibes to me which is why I drew them with this snazzy looking outfit. I also included lyrics from said song in the piece too. That part specifically always gets stuck in my head I'm not gonna lie. I used a mix of colours from the album cover the song came from to make this piece and also some colours I played around with myself. The jacket/blazer thing I gave Bex wasn't based off of anything in particular but was meant to be over the top anyways since the song is just so GROOVY. But to be fair I think I took indirect inspiration from when I made the drawing of Bex as Discord when it came to the flared pants. I had to I just really liked doing the partly see-through half of the pants when I drew Discord Bex.

---

[Update is below this!]

ANYWAYS- UPDATE ABOUT WHY I SUDDENLY DISAPPEARED FOR A MONTH. So a VERY BIG THING happened and it kept me ultra busy for the past month and that waaaaassss- I GOT TO BE A VENDOR AT A LOCAL CONVENTION!!! AAAAA!!!!! It was seriously SUCH an awesome time and while I was completely DRAINED after it I would gladly do it all again. I'm not gonna mention the convention's name since it's a local one and would only doxx myself if I did so. (I know basic internet safety.) But what I will say is that everyone involved from the organisers to the vendors that sold alongside me were all SO NICE and such patient people too. Even the people that stopped by at my stall were also some of the nicest people I've had the pleasure meeting. It was amazing to be sat in a convention selling my artwork and meeting people and seeing them be so interested in my characters it was so- AAAAA!!!! AMAZING!!! BRILLIANT!!! Can you tell I'm missing it?? With it being over though (and with that finally having time again to draw) I still can't guarantee I'll be making more art during this month. I'm just a bit more drained than usual on the creative side with the convention adding to it. Don't worry, there will be an art summary as usual for the end of this year, but there might not be much from me after that. Believe it or not I do in fact have a life outside of DA and other socials that I'm on and I wanna live it.

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Deviantart

Tumblr

Art Tumblr

Youtube

TMM Official Tumblr

Newgrounds

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[all content I post is automatically 13+ if not stated in the title or the content itself]

[amtskind]

die herrlichkeit des lebens (2024)

with kafka's 100th death day approaching this year, 2024 is full of new media about our favourite author.

@sepulkralkreatur and i watched yet another take on kafka's life:

"die herrlichkeit des lebens" (the glory of life) is a movie about kafka's last year, beginning at the baltic-sea and ending by the death-bed. it centers around kafka's romantic relationship to dora dymant and his outbreak from family and prague as a whole - with him moving to berlin. unfortunately, his tuberculosis progresses and he has to move to a sanatorium, where he looses the ability to speak, eat and drink - until he finally dies, with dora being next to him in his last moments.

i got to say, i feared that this movie might be full of kitsch and focus on romance rather than franz kafka - and my initial thought wasn't far from reality in the end - unfortunately.

while the kafka series had this darker and yet funnily-absurd touch to it (which was very fitting for him - kafkaesque!) and strictly followed every aspect of his life, the kafka-feeling in the movie was reduced to fragments of his writing, other people from his life and sporadically added biographical elements - like his illness.

all of this sounds so negative - but let's view the movie from a different perspective: maybe i shouldn't compare the series with the movie in the first place; the series included more facets of biography and had a larger variety of characters and themes - because it was intended to be a biopic.

the movie on the other hand, was based on a novel of the same name by michael kumpfmüller - which dealt with kafka's last year with dora. although having many biographical references, the novel still remains a form of fiction - which makes the movie more distant to the state of a biopic. we shouldn't view the movie as a biography, but rather as a romanticized adaptation of kafka's last year.

the movie features max brod, ottla and elli (kafka's sisters), as well as elli's husband karl hermann. although the characters make phone-calls with kafka's father - he isn't seen anywhere. he remains an oppressing, invisible power towards kafka throughout the whole movie. despite this being a possible, well done metaphor - i would have wished to see more of other characters, with more insight into their feelings in these hard times. but yet again - the movie wasn't made for this intent.

and it is worth considering, that not much is known about his time with dora, since her belongings, including possible letters and memories to franz, were confiscated by the gestapo in 1933. similiar to the legend about kafka's doll (which funnily enough was also mentioned in the movie, that was wholesome), fiction is there to close those holes in his life - and we have to be aware of the fictional nature to the movie.

although i am not the biggest fan of romance-movies and this one didn't necessarily scream "kafka" in your face - i enjoyed it. the actors did a great job and brought some sort of lightness with them. the sets and scenes were full of details and beautifully arranged, making it very lifelike. the following may sound a bit grotesque, but even the medical treatmant and dying-scene was done very realistically, making his suffering even more gruesome. and of course - my favourite thing: the metaphors. the hospital-beds at the beach instead of loungers made dreaming of freedom during a serious illness very impactful.

thank you henriette confurius (dora) and sabin tambrea (franz) for the movie and paying tribute to wonderful people 100 years ago!

more posts:

comparison of the actors and their roles

[irohsteaa]

The Spy Of Oz

The surface of Stefan Verdeman’s story is pretty simple: he was charged with spying and the murder of a federal Parliament member’s secretary and sentenced to twenty years in prison. He was cleared of the charges after his death.

And then his son, Fritz, found his notebook, and it turned out that he was, indeed, a spy.

End of the story? No, there’s another layer that makes all of it a bit more complicated.

cw: homophobia (including internalized homophobia)

Stefan Verdeman loved the song Over the Rainbow from the movie Wizard of Oz, was imprisoned for espionage, and died in 1972 in prison.

The song Over the Rainbow and the movie Wizard of Oz are associated with queer culture. 

The Wizard of Oz is now part of the queer canon, and not just because “friend of Dorothy” became code for homosexual as I mentioned above. That comes from interpreting the three central male characters Scarecrow (Ray Bolger), Tin Man (Jack Haley), and the Cowardly Lion (Bert Lahr) as gay men revolving around a campy heroine (Judy Garland’s Dorothy). Dorothy running away from home and creating her own family mirrors the “found family” in queer communities. Also, her journey from the black-and-white Midwest to the colorful and vibrant Oz is like young queer kids leaving home and traveling to the big city. And with the rainbow flag being an iconic symbol of queer pride, “Somewhere Over the Rainbow” plays like an anthem for queer longing and hope.

Verdeman’s espionage story reminds me of the story of John Vassall:

In 1962, working as a clerk in the British Embassy in Moscow, homosexual civil servant John Vassall was caught in a ‘honey trap’ sprung by the Soviet Secret Service. He was blackmailed into passing secrets to the Soviet Union and as a result sentenced to 18 years’ imprisonment for espionage. (...) John Vassall was released from prison on parole in October, 1972, having served 10 years in prison.

Vederman traveled to Czechoslovakia on several occasions to meet with Franz Bonaparta. In 1966, Poppe’s story Where am I? was aired on Verdeman’s radio station; in the same year, he met with Bonaparta at the Red Rose Mansion. Before leaving the mansion and cutting his ties with Bonaparta, Vedermann told one of the boys that he should run away and return to his family. 

In 1968, he was arrested.

What if Vederman led a double life not only as a spy but also as a closeted gay or bisexual man? What if he had an affair with Franz Bonaparta, and him leaving the Red Rose Mansion for the family was also him leaving his lover for his family? 

It would be interesting if Bonaparta didn’t take it lightly and had a hand in his arrest. If this was the case: Vederman was another person whose name Bonaparta stole.

As mentioned above, Vederman died in 1973 in prison. What if Bonaparta felt guilty and needed to suppress it? With every suppressed feeling, he became more and more detached from himself. And the more detached he was, the worse and stranger his actions became. Keep in mind that Věra and the twins enter the picture not so long after Vederman’s death.

I’ll elaborate on it in my next note.

[leviathan--ships]

ACEEEEEEEE (there are 8 e's this time just for u)

🫂 something your f/o does that makes you feel loved and supported?

🍰 the gayass nicknames. hand em over

☀️ how do yall make your lives more positive?

pleaseeee give me all the guiltshipping lore :]c

OUAGH OKAY, OKAY, THERES MEAN SCARY LESBIANS IN MY ASKBOX MAKING ME ANSWER QUESTIONS, SCARIEST SAW TRAP EVER!!!!!

I can already tell this is gonna be long so I'm gonna go ahead and throw a cut in here to spare y'alls dashes

[Link to the game (aha get it, like erm, those movies, from that one franchise....)]

🫂 - For one, he's really all Franz has post-game. Sure, Lawrence is nice enough, and Amanda isn't like, mean, but he really did lose pretty much everyone and everything he had before. So just being there during his nightmares and general struggles is a huge part of their relationship that he can depend on, and he tries to do the same for Adam.

He also just loves to have someone to spend time with, be it cozy movie nights, playing games they both suck at, cheesy record store dates, or getting dressed up to go see some of shitty local band when its safe to (including wotg, of course).

One of the more specific things Adam does that really helps is helping when his hands are acting up. Since his hands tend to shake or have really bad pains, having someone to help who also understands (as Adam's shoulder was also messed up pretty bad after the bathroom, especially due to infection on top of being shot), and doesn't try to baby or belittle him helps to keep his confidence up.

🍰 - Honestly, I think more creative pet names are difficult for them, as Franz is a somewhat difficult name to play off of, and he's also kind of new to relationships, so he struggles to find much for Adam.

Adam would have the most, defaulting to "babe/baby", partially because he knows its cliché and thinks its humorous, and also because it's easy. I think he'd "handsome" occasionally, especially if he's hugging Franz from behind and muttering against his neck (guys I'm normal and not gay I promise 😿😿)

Franz really doesn't have much, "love" would get used sometimes, but really the ones he'd use would end up being little bits, calling each other "dumbass" and "asshole", and other half-hearted insults.

There's also erm, the silly ones but I think I'm gonna gatekeep those for now :)

☀️ - They really do lean on each other a lot. Franz moreso than Adam, seeing as he has Lawrence as well, and their relationship is a bit different. They have a connection him and Franz don't, but that's not to say one is more valuable. There's a light, almost "first serious high-school relationship" flavor with him and Franz that reminds Adam of him and Scott sometimes (minus the stabbing and general douche-ness. They're young and stupid, and there isn't that intense and serious connection he has with Lawrence that he really values, but its heavy at times, and the chance to step back to something less intense helps him stay balanced.

It's also just fun. The fact that so much of the "normal" relationship things are new to Franz is something Adam really enjoys. Staying up til 3 eating bad snacks just talking about pointless things, Franz turning red when Adam makes a point to call him "my boyfriend" with his arm around his waist at a show, lazy makeout sessions pausing to laugh with each other when Franz doesn't know what to do or makes a weird noise, it's just sweet.

That's not to say its all easy, they're both deeply traumatized, codependent, and Adam's secret and anger do cause issues sometimes, but that's not everything about them. They really do love each other, regardless of need or guilt, and having one another is one of the few things they have to stay sane.

Um um yeah guys I'm normal about that stupid twink I swear

[amadea-nachtmusik]

A Musical Joke (German: Ein musikalischer Spaß) K. 522, (divertimento for two horns in F, and string quartet) is a composition by Wolfgang Amadeus Mozart; he entered it in his Verzeichnis aller meiner Werke (Catalogue of All My Works) on 14 June 1787. Commentators have opined that the piece's purpose is satirical – that "[its] harmonic and rhythmic gaffes serve to parody the work of incompetent composers" – though Mozart himself is not known to have revealed his actual intentions.

The title A Musical Joke might be a poor rendering of the German original: Spaß does not necessarily connote the jocular, for which the word Scherz would more likely be used. In Fritz Spiegl's view, a more accurate translation would be Some Musical Fun

The sometimes-mentioned nicknames Dorfmusikantensextett ("village musicians' sextet") and Bauernsinfonie ("farmers' symphony") were added after Mozart's death; these names ridicule the players more than inept composers.

Structure and compositional elements

The piece consists of four movements and takes about 20 minutes to perform.

Allegro (sonata form), F major

Menuetto and trio, F major (trio in B♭ major)

Adagio cantabile, C major

Presto (sonata rondo form), F major

Compositorial comedic devices include:

secondary dominants replacing necessary subdominant chords;

dissonance in the horns;

parallel fifths

whole-tone scales in the violin's high register;

clumsy orchestration, backing a thin melodic line with a heavy, monotonous accompaniment in the last movement;

going to the wrong keys for a sonata-form structure (the first movement, for example, never succeeds in modulating to the dominant, and simply jumps there instead after a few failed attempts);

starting the slow movement in the wrong key (G major instead of C major);

a pathetic attempt at a fugato, also in the last movement.

The piece is notable for one of the earliest known uses of polytonality (though not the earliest, being predated by Heinrich Ignaz Franz Biber's Battalia), creating the gesture of complete collapse at the finale. This may be intended to produce the impression of grossly out-of-tune string playing, since the horns alone conclude in the tonic key. The lower strings behave as if the tonic has become B♭, while the violins and violas switch to G major, A major and E♭ major, respectively.

[mozartbachtoven]

WHY BEETHOVEN SNUBBED PRINCES AND PUT HIS MUSIC FIRST

Photo : At a soiree in the residence of Prince Lichnowsky: a painting by Julius Schmid

"Prince, what you are, you are through chance and birth; what I am, I am through my own labor. There are many princes and there will continue to be thousands more, but there is only one Beethoven."

" Those are the words of a man truly not lacking in self-confidence. With them, Ludwig van Beethoven once put Prince Karl von Lichnowsky in his place. In the year 1800, the composer's noble patron had guaranteed him a yearly stipend of 600 guilders. Beethoven had just arrived in Vienna, and the funds were to bridge the gap until the composer earned a regular income.

That was never to happen. During his entire time in Vienna from 1792 until his death in 1827, Beethoven remained a freelance musician. Unlike most of his predecessors, he never had an official position at a court or in the service of the church.

Lichnowsky, Waldstein, Razumovsky and Archduke Rudolph are all names that Beethoven fans recognize: the personages behind them are the dedicatees of the composer's most famous works. It was a time in which music was increasingly being created for a middle-class clientele - and Beethoven was at the forefront of this development. Yet most of his compositions were commissioned by the rich, the famous and the noble - contacts that it was essential for him to maintain.

Self-confidently paying respects

In his 2012 biography "Beethoven. Der einsame Revolutionär" ( Beethoven. The Lonely Revolutionary), Jan Caeyers showed how even a Ludwig van Beethoven was forced to bow to reality - and to the influential people of his time. Sometimes the confident and even arrogant musician had to make "obsequious compliments" to get into their good graces.

Like many in his generation, Beethoven had been inflamed by the ideals of the French Revolution. But liberty, equality and fraternity didn't prevent him from pretending that the "van" in the name "Ludwig van Beethoven" pointed to noble heritage, like the German "von." Such was not the case, however; the name was simply an indication of his Flemish forefathers.

Beethoven moved in noble circles purely due to the strength of his art - and many were willing to excuse his lack of courtly manners.

The German man of letters Johann Wolfgang von Goethe wrote, "His talent astonished me, but unfortunately his personality is completely unrestrained." The basic attitude of that "unrestrained personality" was constant however, as expressed in a letter Beethoven wrote to his former teacher Christian Gottlob Neefe: "If I am a great man one day, you will have made a contribution to that."

Multiple sources of support

In his first years in Vienna, a number of noblemen contributed to the young musician's success. Some remained loyal benefactors for decades, including Prince Franz Joseph Maximilian von Lobkowitz (1772-1816), the Russian ambassador Count André Razumovsky (1752-1836) and Count Moritz Fries (1777-1826).

His most important early patron, however, was Prince Karl Lichnowsky (1761-1814), who would become a source of income for a dozen years. Lichnowsky's residence was the meeting place of musicians and composers and saw the premieres of a number of Beethoven's early works.

The composer was even invited to live with the Lichnowskys as a "member of the family," and it was on his recommendation that several other noblemen offered commissions and various forms of financial support to Beethoven.

In gratitude, Beethoven dedicated several works to Lichnowsky, including his Second Symphony and the "Pathétique" Sonata. That gratitude was not endless, however. Around the year 1806, Beethoven was to perform for the prince's guests: French officers. His refusal to do so resulted in a scandal, and the princely payments were discontinued. Returning to Vienna, the furious composer smashed a bust of the prince.

Business savvy and a royal friendship

Beethoven was also something of an entrepreneur. He had most of his works printed and constantly negotiated with publishing houses, so that he would no longer be financially dependent on Lichnowsky.

For the remainder of his life, he did have another royal patron: Archduke Rudolph of Austria-Hungary (1788-1831), the youngest son of Emperor Franz. Himself a proficient pianist and composer, Rudolph was Beethoven's sole student of composition.

It was to him that Beethoven dedicated the greatest number of works, including the Fourth and Fifth Piano Concertos, the piano sonatas subtitled "Hammerklavier" and "Les Adieux," the "Great Fugue" and the Missa solemnis. The latter was to have been performed in 1820 on the occasion of Rudolph's coronation as Archbishop of Olmütz. But the mass, which Beethoven once described as his greatest work, wasn't finished until three years later - just one more indication that for Beethoven, everything - and everyone - took second place to his art .

A close relationship to Archduke Rudolph

In 2003, the American musicologist Lewis Lockwood wrote, "As much as Beethoven scorned other aristocrats, he was deferential to the Archduke, and he took pride in this high social connection." Rudolf treated him "like a friend, not a servant," the composer wrote in 1819.

Predictably, however, Beethoven grumbled intermittently about his teaching obligations, frequently cancelling the lessons that were supposed to take place twice or three times a week, feigning illness. When his royal patron objected, Beethoven set the record straight: He was not the Archduke's "servant."

Letters from Beethoven to Rudolph nonetheless contain generous praise of his student's talent and inspiration - but still, he wasn't afraid to point out mistakes or to admonish him to strive for improvement. Here, too Beethoven managed to have the last word - thoroughly unusual for a musician of that time. "

by Deutsche Welle, 12/2016