#thomas jefferson aesthetic

[ijustthrewawaymyshot]

Me when Musicals:

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Me when a Musical has a little bit of that gothic darkness that I like:

[peeptheaesthetic]

Hamilton moodboard go hard? yay or nay.

[your-everyday-theatre-kid]

𝕿𝖍𝖔𝖒𝖆𝖘 𝕵𝖊𝖋𝖋𝖊𝖗𝖘𝖔𝖓

credit: @forever-bi-panic

𝓜𝓸𝓸𝓭 𝓑𝓸𝓪𝓻𝓭 𝓻𝓮𝓺𝓾𝓮𝓼𝓽𝓮𝓭 𝓫𝔂 @mantisnixon55

[justwatchmyeyes]

Reason and free inquiry are the only effectual agents against error.

Thomas Jefferson

[thepersonalwords]

Never buy a thing you do not want, because it is cheap, it will be dear to you.

Thomas Jefferson

[idkcallmelauren]

[mahi1313]

Rise up again 🔥⚔️✌️

[xoticbrands]

Dive into the world of Thomas Jefferson with our blog! Discover key facts about his presidency, explore his political philosophy, and gain insights into this Founding Father's lasting impact on America. Visit Xotic Brands for more.

[echoes-lighthouse]

To answer a couple of questions that were asked in the tags of my Thomas Jefferson intro

a) for @astronomicalgarbage, who asks if my Jefferson has a thing for Mac and Cheese:

Absofuckinglutely. There's an ongoing fight between me (Canadian) and him (American) about whether Kraft Dinner counts as mac and cheese or an abomination before the lord, and it's one of our favourite meaningless battles. We also correct each other's spelling on papers of words like favourite/favorite and colour/color.

b) for @tex-treasures, who wanted to know our favourite Pokemon and our favourite art periods!

My favourite Pokemon is Ditto, same as it is IRL ^-^ I also have a soft spot for Caterpie and Eevee. My favourite art period is the Pre-Raphaelites.

Thomas's favourite Pokemon are uhhhhhh Luxray, Rayquaza, and he likes Vulpix content. I feel like I don't have the actual knowledge to say what an actual fan like him would like! He likes Neo-Classicalism and chibi art -_-

c) finally, the big question from several people, IS THIS AN APRIL FOOL'S PRANK?

Short answer: yes, I thought it would be fun to do for April Fool's, Miku Binder Thomas Jefferson is not going to be a member of my F/O list. But I do appreciate everyone who turned out to support me <3 <3

Long answer: LMM's version of Thomas Jefferson was genuinely one of the first ten characters I drew selfship art with. As much as I like the aesthetics of the character, I simply have no desire to dive back into that fandom and the politics thereof. My Hamilton/Les Mis era of my life was one of rampant idealism and huge energy and I feel very far away from that earnest wide-eyed first year who was making eight-hour drives to the capital to wave signs on the weekend.

If I was going to selfship with LMM's Thomas Jefferson, I would probably make my own modern design without some of the details from Miku Binder TJeff, but with the same nostalgia for the exaggerated characteristics of the Hamilton fandom (ie. Alex never sleeps, Laurens loves turtles, Lafayette is nonbinary, Thomas loves mac and cheese, everyone has dated everyone else).

But ultimately I'm not going to put in that work. Suffice to say that although this was an April Fool's prank, it was with a lot of heart and genuine enjoyment that I got to explore this dynamic!

[intoxicatingimmediacy]

A Long Talk With clipping. About CLPPNG

10 years later, Daveed Diggs, Jonathan Snipes, and William Hutson discuss their sophomore album and Sub Pop debut.

[...] In the 10 years since clipping.’s first studio album, CLPPNG, was released with legendary Seattle label Sub Pop, a lot has happened: Donald Trump, #BlackLivesMatter, the pandemic, Hamilton (which might seem out of place in this list, but it was certainly life-changing for Diggs, who suddenly found himself a household name—and not for his rap projects, but for his swaggering, indelible Broadway portrayal of America’s third president, Thomas Jefferson). But despite Diggs’s meteoric rise and clipping.’s growing cult following—despite undergoing the hellscape of the past decade like the rest of us—the beating (or, perhaps, beeping) heart of the trio remains the same: a sheer love for music, experimentation and each other.

[...] I love that you have this philosophy of constraints that’s really generative, but at the same time, you don’t constrain yourself to the constraints, and you’re willing to let them go in service of a song. Where does that philosophy originate for you all?

Snipes: The sweet spot, at least for me, is when the concept is incredibly audible, you know? It’s actually not when we gear the concept with layers and production stuff, it’s when we actually are very, very narrow in how we present it. And there are times where the concept becomes inaudible, when we’ve done all this work and we don’t get credit for it. In those cases, we’re pretty quick to abandon it and just make something that has, like, an aesthetic. But I think the real goal for me when doing this really conceptual stuff—and not all our songs are like this—are creating songs that you hear and you know exactly how they’re working, like “Run For Your Life” or “Get Up.” And it’s still a good song and the process is communicated. It’s like a weird little triumvirate of all these things lighting up. This was true to a degree in “Dream,” too—there are a lot of concepts sort of coexisting in that song. We have field recordings of birds cut into rhythmic loops so that they’re falling on beat; we have these drums re-amped from hundreds of feet away in nature, and I think that’s audible. I think you can tell that that’s happening. And then Daveed is rapping very closely into binaural mics and a dummy head—the idea is, if you listen to it in headphones, it’s like Daveed is literally behind your head, which…sort of works! [laughter]

[...] Misogyny has a long history in rap—and in most music, honestly—and while clipping. plays on those tropes, it often feels carefully constructed, such that it doesn’t ever quite feel like it’s perpetuating them. I’d imagine that’s always a bit of a minefield, though, so how much does that awareness play into your songwriting? Or is it more of a subconscious choice?

Diggs: I think we’re aware of it, or we were certainly aware of it early on—I don’t think about it as much anymore. I used to be really careful about pronouns; there were songs that switched gender pronouns in the middle for no reason. Like, I used to be really specific about this.

Like “Wriggle,” I think—the chorus says “girl” one time and “boy” the next, if I’m remembering correctly.

Diggs: Yeah, “Wriggle” for sure. But even things about a single character, I used to try and sneak those things in just to complicate the issue a little bit more—and also to feed into the initial “no first-person,” the “no central narrative spine” or “human at the center” of these things. I mean, of course it’s clearly my voice rapping it, but I thought maybe, “Oh, if we complicate the gender pronouns a little bit, that might make it more amorphous, might help with that.”

Hutson: We definitely do use misogyny as a trope—as a feature of rap music. It’s deployed in our music in a way that’s, like, referential more than anything else. It feels like there’s scare quotes around it, almost. We started out as a band that played at The Smell and all these places where we knew the people who ran the place, we knew everyone in the audience, we knew all the other bands and they knew exactly who we were. So when Daveed would say “it’s clipping., bitch” at the end of the show, they knew we were sort of jokingly referring to Britney Spears saying that, you know? But once we grew outside of an audience that knew us personally, that knew our politics and felt safe with us, I think we started to use those things less often. We were aware of and worried that people are going to hear us and actually take meaning from it about who we are or might be, and we don’t want to have to go around explaining the use of that word. That word does still appear, but again, it always feels, to me, like it’s in some sort of scare quotes in the songs. I think it’s clear, and we haven’t run into people, like, willfully misinterpreting our deployment of misogyny as anything more than a sonic choice—as something that feels recognizable as rap. Because there are words like that, you know?

[...] Daveed, I think you’ve talked before about how rap is all about partying with the horror—through the horror—of day-to-day miseries, which feels like such a central thematic beat for clipping. The third-person-omniscient perspective of many of the songs on CLPPNG, for instance, allows for both distance and intimacy in a really interesting way. Thinking of, for example, “Inside Out” or “Check the Lock,” although that’s from a later album—those are songs that let us see reality in all its clinical brutality while still highlighting the desperate attempts to party through it. How do you maintain that balancing act of party/horror, of dance music/grim reality?

Diggs: I think horror is maybe too strong of a word, unless we’re talking about our horror records, but I think what rap music is good at is not only refusing to soften the hardness of reality but sometimes exaggerating it too—and then making it into party music. It’s the revelation in the late ‘70s, early ‘80s, that just because you were sampling disco music didn’t mean it had to be “hip hop, hippie to the hippie, the hip, hip a hop, and you don’t stop,” you know what I’m saying? Like, you could tell real life stories on top of danceable beats. That’s the thing that rap music has always been really good at—so we’re just continuing that. Although these are not real life stories, they are doing the same thing. They’re not fun stories, on top of danceable beats.

Hutson: Yeah, they take place in a version of the world as it is. And joy still exists, even though everything looks terribly fucked up.

[...] Final question: Back in 2014, did you think that you would still be doing clipping. 10 years later?

Hutson: I think—well, we expected to still be friends, and we’d been friends for so long before this that I always figured this is a band that will never break up. We can always just make another album when we feel like it. So no, I didn’t think that we were going to be a success. But, I did think that the three of us would hang out and keep doing this, when we had the time, for, really, the rest of our lives.

[fireflycollectivetemplates]

I don't really have preferred emojis for this but

Could we get a Hamilton - the musical themed alter template thingy

Please and thank you. :3

-a Lafayette fictive and a Thomas Jefferson fictive [Both from the musical not real life obv.]

omg ofc! we love the music from hamilton (even though we haven't watched it yet TwT)

🎵 name(s) , nickname(s) / prns / gndr / ori / age or age range / species and/or race 🎵  / ! [flag name](flag link) / * 🎤 role(s) / alter type / sign off / source / activity status (active/dormant/missing) 🎤 🎶 links (playlist/carrd/sideblog/wtvr) 🎶 🎹 triggers / int status / verbality n scribality 🎹  **

We hope this works! If not y'all can feel free to send in another ask, darlin!

* we recommend using @/redacted-coiner ’s flag graphics because they’re small and quite nice (at least with our aesthetic ’^^)

** if you need help w inserting images into SP we can also help with that!

[unch4rtedwxters]

🐰 What do you think says the most about a person?

🙃 What’s a weird fact that you know?

🧡 A color you can’t stand?

I usually give three for these things but here's a bonus:

🐸 Describe your aesthetic.

🐰: their body language/the way they carry themselves. you can tell if someone is on the more nervous side by the way they move their hands :)

🙃: uh. when the usa was still a young country, thomas jefferson was with other government guys (can't remember who currently). now – i forgot to mention before – the usa people was dumb and believed that tomatoes were poisonous and if you ate one you would die. thomas, however, was educated, having been in france for a while, and knew that tomatoes were perfectly fine to consume. so this guy whips out a whole tomato in front of the other government guys and eats it like an apple. obviously everyone goes bonkers and panic ensues while thomas watches.

🧡: hm. none come to mind when i think right now.

🐸: i don't know how to describe my aesthetic lmao

[justwatchmyeyes]

I hope our wisdom will grow with our power, and teach us, that the less we use our power the greater it will be.

Thomas Jefferson

[factcheckandchill]

Rough Realism and Realizations, A Visual Story of Neglect

I graduated high school with my eyes set on moving to Philadelphia. Mainly to attend Temple University and participate in the skateboarding culture that the city fostered. A culture communicated to me in my teenhood through YouTube videos of skateboarders and Tumblr posts.

Pop-Punk band ‘The Wonder Years’ used Philadelphia as a theme and backdrop in some of their music. Lines like “the fountain was off” from “Local Man Ruins Everything”, delivered in their extremely emo, punk, angsty style portrayed and delivered ideas of the city to people who might never have seen it before.

When it came to Philly, I saw a lot of the white working-class experiences in the media, whether it’s catchy and gritty pop punk, or low-class bar owners in South Philadelphia. Valid experiences that deserve portrayal.

Nevertheless, the idea of 'Philadelphia' mediated is a diluted version of the reality its majority experiences.

Philadelphia is not limited to those mediated experiences, which do reflect the experiences of some people. People who live in the central high rises have a different experience of the city than those who live in the various neighbourhoods of Philadelphia. I happened to live in North Philadelphia, close to the Temple University campus where I matriculated.

On a given day, tourists staying near sights like the liberty bell or the home where the Declaration of Independence was written, by slave owner Thomas Jefferson, wouldn’t come up to that area. Students of the university living temporarily in the area were not good guests and looked down upon the local residents for a variety of reasons, mainly related to their misfortune and lack of wealth.

Students sought out affordable housing close to campus, and the area, because of neglect by the city, was cheap.

Living there, many complained about the aesthetics and blamed local residents instead of the lack of funding for upkeep. Exacerbating the discomfort of residents. 

Lack of funding and student dissatisfaction was a great excuse for what the administration at Temple University was planning to do in the area. 

Temple University, my alma mater (well one of them), was actively pushing local residents, who the university was established for, out of the surrounding area. To build a goddamn stadium. This was unpopular with many students and those who lived in the area. The 2008 mortgage crisis made it easier for the university to do this.

This consideration for the football stadium started in 2015. Temple University was started as a night school for ministers-in-training to attend classes at night in a church. That is why its mascot is the Temple Owl. The consideration was immensely disconnected from the university’s history. 

Anyone living in North Philadelphia knew that it was ridiculous. The thumbprint of the area would be changed forever and it would just destroy the thumbprint of the area. Temple University’s administration claimed that this was going to help the community when in reality everyone knew that this would tear it apart further. From one end, youth were struggling to get adequate schooling due to the state’s gutting of funding for public schools in Philadelphia, and on the other end, landlords who did not live in Philadelphia were buying up row homes and as many buildings as they can (thanks to the mortgage crisis) and building cheaply made, “luxury” student accommodations that were too expensive for the local residents to rent.

The empty lots started to pile up as “investors” and Temple both were waiting for houses on either side of each lot to empty up. Meaning, be able to get the residents out.

Communities knew they had to stick together or no one will fare any better due to the systematic imposition on people’s lives.

Dinner time in some Philadelphia neighbourhoods wasn’t just a family occasion, they were a time of community survivalist action. I regret not doing more for the people. 

It went beyond North Philly to Kensington and South Philly. People who cared about the city and knew how it affected the residents personally knew this was unfair. Philly may become a "nicer", more "polite" city someday, but the people who made it Philly won't be there. Just like Brooklyn. 

Right-wing students were among the few who supported the stadium project. They saw little wrong in this and believed that if the residents of North Philadelphia wanted to stay in their homes, the homes that their families have lived in since before the inception of Temple University, then they should build up the ability to afford to do so. In other words, “if they want to keep their house, they should just have more money.”

Anyone coming from a poor, working-class environment knows that it's not as simple as working a bit and saving. The realities of life are much more complex in Philadelphia. Where food desserts are normal in North Philadelphia and you are doing well if you have 50 dollars leftover from your paycheck a month.

The view of houses ‘moving’ across the window before the sun set evoked excitement. At the time, Kensington was hosting political meetings of many leftist parties. The PSL and other parties were headquartered there, with the express intent of supporting the community. I enjoyed partaking when I could, but I have to say I might be more of an anarchist than a socialist - probably due to growing up in the middle east and being connected and aware of the community aspect that allowed my recent ancestors to survive. Maybe that’s why I could never commit to being as disciplined a comrade as the others, despite my regret of not doing more for the people I was living amongst. And looking back at it, I am glad I wasn’t committed to the ideals. But I continue to be committed to collective survival in the circles I do occupy. 

I see now that collective action is necessary for survival, but I have no material possibility at the moment to participate in that. You don’t live in a collection of buildings and famous streets. You live around people who are housed (if lucky) in those buildings. They are what make the city or town, and it in turn makes them.

Where do we go from here? I would ask someone who lives there. Someone who is struggling with housing issues, food access, and lack of school funding in Philadelphia.

[perfect-homemade-chili]

355 “Blogskill Unlocked.”

it seems in preparation for our grand quest we have uncovered a few more corners of this ugly starfish to give our blog definition and meaning. We thought foremost out of consideration for the reader’s time to limit our quest to a more symbolic 365 total posts—this way, we can allocate roughly 30 posts per general topic, which off the top of our head might include ‘General Stuff,’ ‘Random Stuff,’ ‘Unsavory Stuff,’ ‘Sexy Stuff,’ ‘Metaphysical Stuff,’ ‘Arts & Crafts,’ ‘Eastern Philosophy,’ ‘Western Philosophy,’ ‘Storywriting,’ ‘Why Longboarding Is Better than Skateboarding,’ ‘Literature,’ ‘Poetry,’ ‘Occult and Supernatural,’ ‘Buddhism and Meditation,’ ‘Classical Music,’ ‘Natural World + Animals as Symbols,’ ‘History and Bios,’ and leave 5 posts for that destined denoument of our legendary chili recipe—which, given how online recipes are usually organized, seems fittingly proportionate. We toyed with the idea of injecting even more method to our madness by adapting some tagging akin to how Thomas Jefferson organized his private library (later adapted by Melvil Dewey in developing the dewey decimal system used now as basis in libraries worldwide) under three broad categories—Philosophy (includes all moral, aesthetic, technical, logical, scientific discourse), Memory (all historical, nonfictive biographical, factual works…) and Imagination (all poetic mythic or fanciful works) but… it became clear mere seconds later this would undermine the very framework of our blogging—namely, as litterbox for the hairballs of our mind without trying attempting to untangle them. So this is why we are keeping to 365 posts so, a) we don’t contribute too voluntarily to the insufferable glut of the world, b) this is a good general length for a published work or cohesive whole while still straddling between manageable and niche. Now, the reader might wonder, what do we have to offer that is so unique yet universal, timely yet timeless, shameless yet necessary? How do we compare with bloggers before us—with the cleverness of Cicero, the political astuteness of Thucydides, the impartiality of Xenophon, the grandeur of Livy, the heroism of Plutarch? Simple. By drawing the entirety of our blogging under the relatable metaphor of a quest for a chili recipe. By the way, one idea we have why biblical descriptions of angels look like such terrifying giga starfish (you know, those thousand winged/eyed super saiyan monstrosities) is because they are seen through the fourth dimension aka hypercube. However this is just fanciful invention and not symbolic correspondence, we shall discuss the difference in the next post.

sandwich#003—-i kind if want to try a breakfast toast i read about recently, ‘custard yogurt toast,’ whisking egg with yogurt, spreading on toast and baking with some cinnamon, sugar, and fruit. Knowing me i will probably just eat cinnamon.