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frodolives · 5 months

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1850s Tumblr Dashboard Simulator

👸🏻 girlbossladyjane Follow

It really makes me sick to see people giving money to penny weeklies when Franklin's expedition STILL has not been found 😭 There are good men out there trapped in unimaginable temperatures and literally all that's needed is a little more funding for another rescue mission yet all you guys seem to care about are your vulgar little stories...

🧔🏻‍♂️ queerqueg Follow

the franklin expedition is dead as hell

👸🏻 girlbossladyjane Follow

Disgraceful thing to say but I'd expect nothing more from a M*lville fan

10,558 notes

👨🏻‍❤️‍💋‍👨🏻 hartgrindisreal

Sorry for posting so much about Tom Gradgrind/James Harthouse from Hard Times lately. It turns out that I was getting arsenic poisoning from my wallpaper? Anyway I took a seaside stroll and I'm normal now. Check your walls y'all

#whyyy did i assume they were committing unlawful actions together like where did i even get that from lol #hard times isn't even that good by dickens standards tbh

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🎨 asherbrowndurand

Just painted this

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ss-arctic-girlie-deactivated18540927

RIP Napoleon... you may have been unable to conquer Alexander's Russia but you sure as hell conquered Alexander's bed

🖼️ preraphaelitebro Follow

HERITAGE POST

📝 shakespearesforehead Follow

How does this have less than 100k notes you could literally not avoid this post back in the 20s lol

82,170 notes

🌄 loyalromantic Follow

poets just aren't dying young in mysterious water-related incidents like they used to :/

#as useless and degenerative as i find 'the living poets' and i'm glad we're finally moving on from them #i have to agree with op in this respect

6,884 notes

🎀 thefopdiaries Follow

I finally got a daguerreotype of myself ^_^ Porcelain urn for scaling

📜 bartlebi-thescrivener

i think i hauve consumption

112 notes

🐋 whaler4life

They found oil in the ground??? WTF. THIS IS LITERALLY THE WORSTTTT. FUCK MY LIFE FOR REAL THIS TIME

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🌿 naturesnaturalist Follow

I swear this website has 0 reading comprehension skills. Darwin NEVER claimed we "evolved" from apes like if one of you guys actually bothered to open his new book you'll see all his arguments are backed up by evidence. He actually makes a lot of sense

#sure there's nuance like i don't fully agree with all of it #but his general theory of natural selection seems pretty sound imo

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🤵🏻‍♂️ byronicherotournament Follow

🙈 butchbronte Follow

Of course these are the finalists lmao this website is so predictable. Anyway vote Heathcliff if you dont i'm going to assume you're a phrenologist

📖 sapphichelenburns Follow

It's not problematic to acknowledge the fact that Heathcliff was a brute like he literally killed dogs in case you forgot. #rochestersweep

🙈 butchbronte Follow

I love the implication here that Rochester never did anything cruel either. He literally locked his wife in the attic and lied to Jane about it 😭 like that was a pretty significant thing that happened

📖 sapphichelenburns Follow

And? God forbid women do anything

#why'd you have to pit two bad bitches against each other #anyway i'm not attracted to men but still went with rochester #bc in terms of living quarters thornfield hall > wuthering heights easily

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👨🏻‍❤️‍💋‍👨🏻 hartgrindisreal

Not the Russian tsar dying immediately after hartgrind became canon

#i know dickens hasn't technically confirmed it yet but like. SOMETHING was strongly implied ok #see: my previous post #dickensposting

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👨🏻‍❤️‍💋‍👨🏻 hartgrindisreal

LORD HELP ME. THE BODY LANGUAGE. THE WAY THEY'RE LOOKING AT EACH OTHER. AHHHHHH

#this installment!!! im-- #dickensposting #i can't fucking cope #dickens wants to KILL us he wants us DEAD....

2,309 notes

⭐️ newamerican

Hi guys sorry I haven't been posting lately it's been so difficult getting to California 💀 I'm finally here now though just need to find a pickaxe and soon I'll be digging! :-) wish me luck lol

#gold #gold rush #gold rush grind #california #adventure

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mask131 · 4 months

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The truth about Medusa and her rape... Mythology breakdown time!

With the recent release of the Percy Jackson television series, Tumblr is bursting with mythological posts, and the apparition of Medusa the Gorgon has been the object of numerous talks throughout this website… Including more and more spreading of misinformation, and more debates about what is the “true” version of Medusa’s backstory.

Already let us make that clear: the idea that Medusa was actually “blessed” or “gifted” by Athena her petrifying gaze/snake-hair curse is to my knowledge not at all part of the Antique world. I still do not know exactly where this comes from, but I am aware of no Greek or Roman texts that talked about this – so it seems definitively a modern invention. After all, the figure of Medusa and her entire myth has been taken part, reinterpreted and modified by numerous modern women, feminist activist, feminist movements or artists engaged in the topic of women’s life and social conditions – most notably Medusa becoming the “symbol of raped women’ wrath and fury”. It is an interesting reading and a fascinating update of the ancient texts, and it is a worthy take on its own time and context – but today we are not talking about the posterity, reinvention and continuity of Medusa as a myth and a symbol. I want to clarify some points about the ACTUAL myth or legend of Medusa – the original tale, as told by the Greeks and then by the Romans.

Most specifically the question: Was Medusa raped?

Step 1: Yes, but no.

The backstory of Medusa you will find very often today, ranging from mythology manuals (vulgarization manuals of course) to Youtube videos, goes as such: Medusa was a priestess of Athena who got raped by Poseidon while in Athena’s temple, and as a result of this, Athena punished Medusa by turning her into the monstrous Gorgon.

Some will go even further claiming Athena’s “curse” wasn’t a punishment but a “gift” or blessing – and again, I don’t know where this comes from and nobody seems to be able to give me any reliable source for that, so… Let’s put this out of there.

Now this backstory – famous and popular enough to get into Riodan’s book series for example – is partially true. There are some elements here very wrong – and by wrong I do mean wrong.

The story of Medusa being raped and turned into a monster due to being raped does indeed exist, and it is the most famous and widespread of all the Medusa stories, the one people remembered for the longest time and wrote and illustrated the most about. Hence why Medusa became in the 20th century this very important cultural symbol tied to rape and the abuse of women and victim-blaming. HOWEVER – the origin of this story is Ovid’s Metamorphoses, from the first century CE or so. Ovid? A Roman poet writing for Roman people. “Metamorphoses”? One of the two fundamental works of Roman literature and one of the two main texts of Roman mythology, alongside Virgil’s Aeneid. This is a purely Roman story belonging to the Roman culture – and not the Greek one. The story of Medusa’s rape does not have Greek precedents to my knowledge, Ovid introduced the element of rape – which is no surprise given Ovid turned half of the romances of Greek mythology into rapes. Note that, on top of all this, Ovid wasn’t even writing for religious purposes, nor was his text an actual mythological effort – he wrote it with pure literary intentions at heart. It is just a piece of poetry and literature taking inspiration from the legends of the Greek world, not some sort of sacred text.

Second big point: The legend I summarized above? It isn’t even the story Ovid wrote, since there are a lot of elements that do not come from Ovid’s retelling of the story (book fourth of the Metamorphoses). For example Ovid never said Medusa was a priestess of Athena – all he said was that she was raped in the temple of Athena. I shouldn’t even be writing Athena since again, this is a Roman text: we are speaking of Minerva here, and of Neptune, not of Athena or Poseidon. Similarly, Minerva’s curse did not involve the petrifying gaze – rather all Ovid wrote about was that Minerva turned Medusa’s hair into snakes, to “punish” her because her hair were very beautiful, and it was what made her have many suitors (none of which she wanted to marry apparently), and it is also implied it is what made Neptune fall in love (or rather fall in lust) with her. I guess it is from this detail that the reading of “Athena’s curse was a gift” comes from – even though this story also clearly does victim-blaming of rape here.

But what is very fascinating is that… we are not definitively sure Neptune raped Medusa in Ovid’s retelling. For sure, the terms used by Ovid in his fourth book of Metamorphoses are clear: this was an action of violating, sexually assaulting, of soiling and corrupting, we are talking about rape. But Ovid refers several other times to Medusa in his other books, sometimes adding details the fourth-book stories does not have (the sixth book for examples evokes how Neptune turned into a bird to seduce Medusa, which is completely absent from the fourth book’s retelling of Medusa’ curse). And in all those other mentions, the terms to designate the relationship between Medusa and Neptune are more ambiguous, evoking seduction and romance rather than physical or sexual assault. (It does not help that Ovid has an habit of constantly confusing consensual and non-consensual sex in his poems, meaning that a rape in one book can turn into a romance in another, or reversal)

But the latter fact makes more sense when you recall that the rape element was invented and added by Ovid. Before, yes Poseidon and Medusa loved each other, but it was a pure romance, or at least a consensual one-night. Heck, if we go back to the oldest records of the love between Poseidon and Medusa, back in Hesiod’s Theogony, we have descriptions of the two of them laying together in a beautiful, flowery meadow – a stereotypical scene of pastoral romances – with no mention of any brutality or violence of any sort. As a result, it makes sense the original “romantic” story would still “leak” or cast a shadow over Ovid’s reinvented and slightly-confused tale.

Step 2: So… no rape?

Well, if we go by Greek texts, no, apparently Medusa was not raped in Greek mythology, and only became a rape victim through Ovid.

The Ancient Greek texts all record Poseidon and Medusa sleeping with each other and having children, but no mention of rape. And the whole “curse of Athena” thing is not present in the oldest records – no temple of Athena soiling, no angry Athena cursing a poor girl… “No curse?” you say “But then how did Medusa got turned into a Gorgon”? Answer: she did not. She was born like that.

As I said before, the oldest record of Medusa’s romance but also of her family comes from Hesiod’s Theogony (Hesiod being one of the two “founding authors” of Greek mythology, alongside Homer – Homer did wrote several times about Medusa, but only as a disembodied head and as a monster already dead, so we don’t have any information about her life). And what do we learn? That Medusa is part of a set of three sisters known as the Gorgons – because oh yes, Ovid did not mention Medusa’s sister now did he? How did Medusa’s sisters ALSO got snake-hair or petrifying-gaze if only Medusa was cursed for sleeping with Neptune? Ovid does not give us any answer because again, it is an “adaptational plot hole”, and the people that try to adapt Ovid’s story have to deal with the slight problem of Stheno and Euryale needing to share their sister’s curse despite seemingly not being involved in the whole Neptune business. Anyway, back to the Greek text.

So, you have those three Gorgon sisters, and Medusa is said to be mortal while her sisters are not. Why is it such a big deal? Because Medusa wasn’t originally some random human or priestess. Oh no! Who were the Gorgons’ parents? Phorcys and Keto/Ceto, aka two sea-gods. Not just two sea-gods – two sea-gods of the ancient, primordial generation of sea-gods, the one that predated Poseidon, and that were cousins to the Titans, the sea-gods born of Gaia mating with Pontos.

So the Gorgons were “divine” of nature – and this is why Medusa being a mortal was considered to be a MASSIVE problem and handicap for her, an abnormal thing for the daughter of two deities. But let’s dig a bit further… Who were Phorcys and Ceto? Long story short: in Greek mythology, they were considered to be sea-equivalents of Typhon and Gaia. They were the parents of many monsters and many sea-horrors: Keto/Ceto herself had her name attributed and equated with any very large creature (like whales) or any terrifying monster (like dragons) from the sea. The Gorgons themselves was a trio of monsters, but their sisters, that directly act as their double in the myth of Perseus? The Graiai – the monstrous trio of old women sharing one eye and one tooth. Hesiod also drops the fact that Ladon (the dragon that guarded the golden apples of the Hesperids), and Echidna (the snake-woman that mated with Typhon and became known as the “mother of monsters”) were also children of Phorcys and Ceto, while other authors will add other monster-related characters such as Scylla (of Charybdis and Scylla fame), the sirens, or Thoosa (the mother of Polyphemus the cyclop). Medusa herself is technically a “mother of monsters” since she birthed both Pegasus the flying horse and Chrysaor, a giant. So here is something very important to get: Medusa, and the Gorgons, were part of a family of monsters. Couple that with the absence of any mention of curses in these ancient texts, and everything is clear.

Originally Medusa was not a woman cursed to become a monster: she was born a monster, part of a group of monster siblings, birthed by monster-creating deities, and she belonged to the world of the “primordial abominations from the sea”, and the pre-Olympian threats, the remnants of the primordial chaos. It is no surprise that the Gorgons were said to live at the edge of the very known world, in the last patch of land before the end of the universe – in the most inhuman, primitive and liminal area possible. They were full-on monsters!

Now you might ask why Poseidon would sleep with a horrible monster, especially when you recall that the Greeks loved to depict the Gorgons as truly bizarre and grotesque. It wasn’t just snake-hair and petrifying gaze: they had boar tusks, and metallic claws, and bloated eyes, and a long tongue that constantly hanged down their bearded chin, and very large heads – some very old depictions even show her with a female centaur body! In fact, the ancient texts imply that it wasn’t so much the Gorgon’s gaze or eyes that had the power to turn people into stone – but that rather the Gorgon was just so hideous and so terrifying to look at people froze in terror – and then literally turned into stone out of fear and disgust. We are talking Lovecraftian level of eldritch horror here. So why would Poseidon, an Olympian god, sleep with one of these horrors? Well… If you know your Poseidon it wouldn’t surprise you too much because Poseidon had a thing for monsters. As a sort of “dark double” of Zeus, whereas Zeus fell in love with beautiful princesses and noble queens and birthed great gods and brave heroes, Poseidon was more about getting freaky with all sorts of unusual and bizarre goddesses, and giving birth to bandits and monsters. A good chunk of the villains of Greek mythology were born out of Poseidon’s loins: Polyphemus, Antaios, Orion, Charybdis, the Aloads… And even his most benevolent offspring has freaky stuff about it – Proteus the shapeshifter or Triton half-man half-fish… So yes, Poseidon sleeping with an abominable Gorgon is not so much out of character.

Step 3: The missing link

Now that we established what Medusa started out as, and what she ended up as… We need to evoke the evolution from point Hesiod to point Ovid, because while people summarized the Medusa debate as “Sea-born monster VS raped and punished woman”, there is a third element needed to understand this whole situation…

Yes Ovid did invent the rape. But he did not invent the idea that Medusa had been cursed by Athena.

The “gorgoneion” – the visual and artistic motif of the Gorgon’s head – was, as I said, a grotesque and monstrous face used to invoke fright into the enemies or to repel any vile influence or wicked spirit by the principle of “What’s the best way to repel bad stuff? Badder stuff”. Your Gorgon was your gargoyle, with all the hideous traits I described before – represented in front (unlike all the other side-portraits of gods and heroes), with the face being very large and flat, a big tongue out of a tusked-mouth, snake-hair, bulging crazy eyes, sometimes a beard or scales… Pure monster. But then… from the fifth century BCE to the second century BCE we see a slow evolution of the “gorgoneion” in art. Slowly the grotesque elements disappear, and the Gorgon’s face becomes… a regular, human face. Even more: it even becomes a pretty woman’s face! But with snakes instead of hair. As such, the idea that Medusa was a gorgeous woman who just had snakes and cursed-eyes DOES come from Ancient Greece – and existed well before Ovid wrote his rape story.

But what was the reason behind this change?

Well, we have to look at the Roman era again. Ovid’s tale of Medusa being cursed for her rape at the hands of Neptune had to rival with another record collected by a Greek author Apollodorus, or Pseudo-Apollodorus, in his Bibliotheca. In this collection of Greek myths, Apollodorus writes that indeed, Medusa was cursed by Athena to have her beautiful hair that seduced everybody be turned into snakes… But it wasn’t because of any rape or forbidden romance, no. It was just because Medusa was a very vain woman who liked to brag about her beauty and hair – and had the foolish idea of saying her hair looked better than Athena’s. (If you recall tales such as Arachne’s or the Judgement of Paris, you will know that despite Athena being wise and clever, one of her main flaws is her vanity).

“Wait a minute,” you are going to tell me, “The Bibliotheca was created in the second century CE! Well after Greece became part of the Roman Empire, and after Ovid’s Metamorphoses became a huge success! It isn’t a true Greek myth, it is just Ovid’s tale being projected here…” And people did agree for a time… Until it was discovered, in the scholias placed around the texts of Apollonios of Rhodes, that an author of the fifth century BCE named Pherecyde HAD recorded in his time a version of Medusa’s legend where she had been cursed into becoming an ugly monster as punishment for her vanity. We apparently do not have the original text of Pherecyde, but the many scholias referring to this lost piece are very clear about this. This means that the story that Apollodorus recorded isn’t a “novelty”, but rather the latest record of an older tradition going back to the fifth century BCE… THE SAME CENTURY THAT THE GORGONEION STARTED LOSING THEIR GROTESQUE, and that the face of Medusa started becoming more human in art.

[EDIT: I also forgot to add that this evolution of Medusa is also proved by strange literary elements, such as Pindar's mention in a poem of his (around 490 BCE) of "fair-cheeked Medusa". A description which seems strange given how Medusa used to be depicted as the epitome of ugliness... But that makes sense if the "cursed beauty" version of the myth had been going around at the time!]

And thus it is all connected and explained. Ovid did invent the rape yes – but he did not invent the idea of Athena cursing Medusa. It pre-existed as the most “recent” and dominating legend in Ancient Greece, having overshadowed by Ovid’s time the oldest Hesiodic records of Medusa being born a monster. So what Ovid did wasn’t completely create a new story out of nowhere, but twist the Greek traditions of Athena cursing Medusa and Medusa having a relationship with Poseidon, so that the two legends would form one and same story. And this explains in retrospect why Ovid focuses so much on describing Medusa’s beautiful hair, and why Ovid’s Minerva would think turning her hair into snake would be a “punishment fit for the crime”: these are leftovers of the Greek tale where Medusa was punished for her boasting and her vanity.

CONCLUSION

Here is the simplified chronology of how Medusa’s evolution went.

A) Primitive Greek myths, Hesiodic tradition: Born a monster out of a family of sea-monsters and monstrous immortals. Is a grotesque, gargoylesque, eldritch abomination. Athena has only an indirect conflict with her, due to being Perseus’ “fairy godmother”. Has a lovely romance with Poseidon.

B) Slow evolution throughout Classical Greece and further: Medusa becomes a beautiful, human-looking girl that was cursed to have snake for hair and petrifying eyes, instead of being a Lovecraftian horror people could not gaze upon. Her conflict with Athena becomes direct, as it is Athena that cursed her due to being offended by her vain boasting. Her punishment is for her vanity and arrogant comparison to the goddess.

C) Ovid comes in: Medusa’s romance with Poseidon becomes a rape, and she is now punished for having been raped inside Athena’s temple.

[As a final note, I want to insist upon the fact that the story of Medusa being raped is not less "worthy" than any other version of the myth. Due to its enormous popularity, how it shaped the figure of Medusa throughout the centuries, and how it still survives today and echoes current-day problems, to try to deny the valid place of this story in the world of myths and legends would be foolish. HOWEVER it is important to place back things in their context, to recognize that it is not the ONLY tale of Medusa, that it was NOT part of Greek mythology, but rather of Roman legends - and let us all always remember this time Poseidon slept with a Lovecraftian horror because my guy is kinky.]

EDIT:

For illustration, I will place here visuals showing how the Ancient art evolved alongside Medusa's story.

Before the 5th century BCE: Medusa is a full-on monster

From the 5th century to the 2nd century BCE: A slow evolution as Medusa goes from a full-on monster to a human turned into a monster. As a result the two depictions of the grotesque and beautiful gorgoneion coexist.

Post 2nd century BCE: Medusa is now a human with snake hair, and just that

#greek mythology #medusa #gorgon #athena #gorgons #poseidon #neptune #minerva #ovid #rape in mythology #greek monsters #roman mythology

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midnightsslut · 7 days

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religion is one of the most prominent recurring themes on the album, and it has been present in some capacity for quite a few records now. taylor previously compared love to religion: her saving grace, her belief system, and a fated divine intervention (false god, cornelia street, and cruel summer are the best examples of this). ‘sacred new beginnings that became my religion’ and ‘we’d still worship this love even if it’s a false god’ are two of the defining statements about her philosophy on the lover album.

taylor doesn’t want to leave all of that behind on ttpd, at least not at the beginning. the first supernatural force she mentions is the spaceship on down bad, which she compares to a skylight of freedom in the epilogue. *something* has finally come to save her from her life of suffering. she doesn’t care if it’s a force of good at first; if anything, she’s just fine being taken away by aliens. she views this man as her destiny. it isn’t until guilty as sin? that taylor starts to ponder the moral implications of what she’s doing. is she guilty as sin for wanting to leave her previous religion and relationship behind? she comes to the conclusion that, even if she rolls the stone away and gets resurrected/redeemed, she cannot avoid the fallout. she is okay with the thought of having to wait, as long as both lovers vow to be together forever, just as she once did with someone else in false god. ‘I choose you and me religiously’ finishes the bridge of the song in a direct callback to cornelia street.

the next mention of religion has murkier imagery. she claims that she does not need the Lord’s help to save this man. she sees the halo that he has, and she can fix him herself. now that she feels free of her prior cage, she isn’t looking for divine intervention anymore. she wants control. she is their route to salvation.

when the relationship falls apart, she retreats back into the position of a believer rather than a divine figure. she compares him to a Holy Ghost who promised to save her and take her to heaven. instead, she is in hell in every sense of the word: she’s down bad and feels guilty for digging up the grave. he was a jehovah’s witness who promised that she could break free of the cage imposed by love without changing her religion altogether; she would’ve just had to switch denominations. she could still have a marriage and kids! she could still have a blue tortured poet! the man was different, but not the dreams they had together. the story of the first part of the album ends here. her faith has been broken, and she has only found any semblance of sanity by refusing to mention these belief systems altogether.

side b/the anthology blends the christian imagery of side a with goddesses, sorcerers, and prophecies. she bargains with these powers to let her have the future she wants (the prophecy). she doesn’t sound like someone believing in salvation. if anything, she feels cursed. she decides that the concept of divinely ordained timing will never work in certain relationships (‘the goddess of timing once found us beguiling / she said she was trying / peter, was she lying?’). this disdain extends onto her perception of other people’s faith (‘bet they never spared a prayer for my soul’). she does position herself as a prophet in cassandra, but even then, she admits that the role has hurt her. perhaps the pain in thank you aimee was meant to be, or perhaps she was just strong enough to build a legacy in spite of it, boulder by boulder. is she a martyr? does she want to be? or did she save herself?

the only real love song on this half of the album makes no mention of fate or any divine forces. it wasn’t meant to be. it’s not a supernatural invisible string or lightning in a bottle. she is just in love.

the album ends with the manuscript, which revisits an old story of a defining, formative heartbreak. as she sings ‘at last, she knew what the agony had been for’ while describing the legacy of her writing, she seems to revert to thinking about the purpose of trauma. the only exception is that, in this case, she is the one who found meaning in her pain by turning it into a manuscript. writing is her belief system now, and she proselytizes by telling her stories and thus giving up the manuscript.

ultimately, her belief in destiny has chewed her up and spat her out. she so desperately clung to her existing belief systems that she was fooled by a conman, which left her feeling cursed. religion is supposed to be with someone even in their darkest moments, but the album explains that taylor often felt abandoned. the only constant in her life was, well, herself. she’ll be okay, but her pen will be her saving grace.

#idk why I wrote this essay but it needed to be said #this could be taken further by actually unpacking each mention of religion on midnights and lover but i ain’t doing all that #the manuscript #cassandra #Cornelia street #false god #cruel summer #lover #the prophecy #the smallest man who ever lived #but daddy I love him #I can fix him #guilty as sin #ttpd #thank you Aimee #peter

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celesterayel · 4 months

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goodbyes & waiting | luke castellan

pairing : luke castellan x aphrodite!reader

request: happy holidays! could you write a luke x aphrodite reader? (maybe with angst?) <3

IN WHICH — there are the moments you shared and the sadness that came after.

"trust that you betrayed, confusing that still lingers. you took everything I loved and crushed it in between your fingers" - o.r.

w.c. 1k

warning(s) : lots and lots of angst ゜✭・.

✩ ‧₊˚ author's note this act hurt me so much in the feelings. I've never written something so angst, hope you enjoy it tho, love :)

your heart didn’t hurt, it burned.

you wished you could tear the wretched thing out and never feel anything again but it remained there, silently killing you from the inside out. in your palm lay a small pendant, not the prettiest thing by any means and resembling more like something you’d find at a second-hand store. the chain was thin and dull but at the center lay a small heart of twine and charms. your finger brushed over it, as if attempting to soothe your own heart, a manifestation of your pain literally.

god, you wanted to burn it to the ground. you wanted to scream so loudly and raw that you’d scream your vocal cords out of your throat. you wanted to scream at the gods–fuck them and fuck the fates–and most of all, at him.

had it meant nothing to him? this…whatever it was between you two? how could he have left you so brutally? without a second thought.

the pendant burned in your hand but you’d sooner kill yourself than part with it. it was the last thing you had of luke castellan. the boy who had loved you at your lowest, who once would have rather burned the world than let it hurt you. but he had hurt you and with the blow of godliness that ran in his blood.

you never did see it coming.

✩ ‧₊˚

you had first arrived at camp a year before percy jackson appeared. no sooner than you did, were you claimed by your mother, the goddess aphrodite. and unlike how the poets and half bloods describe it, children of aphrodite were not all inherently blessed with grand beauty. rather you were made to be beautiful in the way extraordinary things are: ingrained into the brain like a itch in a way so profound.

something about you entranced others, maybe the way you spoke or how you approached everyone like they were someone you had known since forever, you were just always a shining light for others to flock too. something so incredibly enchanting, gentle like the breeze of the camp waters.

luke was the first person to approach you after being claimed, the same boyish smile you’d later fall in love with on his face.

“the names luke castellan. yours?” he breathed out, something about the way he looked at you like you were every enchanting thing in the form of a person made your heart sing.

you knew that your heart would belong to him every moment after.

something in the way he looked at you like you were his forever after made you feel complete. like you weren’t so alone in this world made of monsters and man, godless beings of hunger and pain. and it seemed like he knew it too because there was a knowing in his eyes, a connection between you too that would hurt for every lifetime and the next.

you and luke only grew closer after and where you went he followed. where he strayed, you wandered. secrets moments shared beneath candlelights with his hands on your waist and yours bunched in his hair.

“your my forever, you know that right?” he’d whisper against your lips, trying to breathe you in like you’d disappear from his arms.

you’d just kiss him harder like his words could burn themselves to your lips. like he could burn himself into your very being and never leave you. one day you’d tell him he’d already had.

moments by the lakes where he’d hold you against him and you’d rest on his shoulder like it was the only place you’d ever need. trinkets you’d find when you’d go exploring with the littlest campers that you gifted to him and he kept like they were the grandest of treasures. times when he’d cry into your shoulder and you’d just hold him all the more closer like you could take the pain. the pendant he had spent months and late nights learning to craft from hand to give you. you planned out your future together late, late into the night when you couldn’t sleep: maybe someday he’d whisk you away to visit paris or to see the great big apple–only later you’d go without him.

holding you so tightly, he’d ask, “where would you want to go if we ever leave here?”

“anywhere you go.” the late nights near the lakes always made it seem like your cocoon, a safe haven from everything else. nights like these only made you fall in love with him more.

“yes, but if you could pick anywhere, where would you want me to take you, “ he huffed out, chuckling.

you grab his hands and press a kiss to his lips, tasting freedom and fire all in one breath. kissing luke was always electric, every want and lightning burn in one breath, one touch.

you leaned back, before contemplatingly saying, “i’ve always wanted to go to see the city lights in the big apple.”

“i’ll take you one day.” it was a promise. a future for you both.

“i’ll hold you to that.”

✩ ‧₊˚

but it never did happen.

✩ ‧₊˚

you remember the scream you felt bottled in your throat when you found out what had happened. the looks the others had given you when percy told you what luke had done. why he wasn't here with you guys. why he wasn’t here with you.

the betrayal hurt more than anything you had ever felt. parts of the pieces of the future you had made crumbling as quickly as you both had made it. the trinkets you had given him were gone just as he was.

as the months passed, here you stayed as the others left. hoping that by some miracle, your golden boy would return to you. that'd he'd come back ready to make good on his promise. he’d return to the lake where you had once built your future but he never did and the scream in your throat never left.

you promised me, luke.

footsteps approached you and there at the bottom of the hermes cabin stood percy jackson, “y/n, it’s time to go.”

he looked at the pendant in your hands before giving you a sad smile. he knew your history and your pain–once upon a time, luke had been his first real friend.

you wiped the tears that had fallen down your cheeks and slipped the necklace back onto your neck. you couldn’t bear to part with it, not even after all this time, after all these moments.

you looked behind you to the cabin one last time—breathing in the old memories and letting them go one last time—before you turned back around.

“let’s go.”

in the end, your golden boy had been far too much like his father and you were the one to be left waiting.

#luke x reader #luke castellan x reader #luke castellan #luke pjo #luke castellan imagine #luke castellan x you #charlie bushnell #pjo series #pjo fandom #percy jackson x reader #percy jackson show #pjo x you #percy jackon and the olympians #percy pjo #angst #too much angst #god damn #this act hurt me so bad

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diordeer · 2 months

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౨ৎ LOVER, YOU SHOULD’VE COME OVER [01]

“it's never over, all my blood for the sweetness of her laughter. it's never over, she is the tear that hangs inside my soul forever” - jeff buckley (smau)

↳ CHAPTER ONE PREV | NEXT

CONTAINS charlie bushnell x fem!reader CONTAINS SPOILERS FOR BOOK THREE, this is a bit shorter bc i cant do much drama in the comments considering they dont know eachover yet

DESCRIPTION reader plays as artemis in season 3 of percy jackson (can we pls pretend artemis is in an older body), and also does ballet .. there is no specific face claim but she is white with blonde hair

TAGLIST @amoreva @liviessun @reet8713 @m00ng4z3r @tortured-poets-depxrtment @izuoyarmin @perseus-jackass @poppyflower-22 @pleasingregulus @balletfilmss @bowerfeithwk @tomblythsslut @mysterioussmae @niktwazny303

Liked by leahsavajeffries, dior.n.goodjohn and others

yn.ln life rn 🩰

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user1 did u guys see the percy series post??

↳ user2 omg shes playing artemis!!!!

user3 ur account is so pretty

↳ yn.ln 😘😘

user4 i cant wait for artemis and zöe they are my favs!

↳ user5 i dont think i will be able to deal with her death!

user6 omg AND ariana greenblatt?! we are getting fed!!

Liked by walker.scobell, iamcharliebushnell and others

Percyseries joining the cast of season 3 of ‘Percy Jackson & The Olympians’ are yn.ln and Ariana Greenblatt, as Artemis, and Zöe nightshade

Ln’s Artemis, the goddess of the hunt, is a daring and brave warriors who leads the group of her ‘Huntresses’.

Greenblatt’s Zöe Nightshade being one of those, as a loyal lieutenant. She is a determined, yet stubborn character, who leads the quest in saving Artemis.

tagged yn.ln, ariana_greenblatt

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user1 OH MY GOD ?!?!

user2 the hunters of artemis are my roman empire

user3 the artemis and zöe we deserve!!

dior.n.goodjohn excitiinggggg

Direct Messages:

Dior: heyy yn!

You: hi!

Dior: i was just wondering if u wanted to meet up with a few of us before filming? Like to meet eachover ☺️

You: omg obviously!! When?

Dior: maybe this weekend? Its not everyone, like just me, charlie, walker, and aryan, i think leahs busy not sure tho 😞

You: alr!! Ill check if im free!

Liked by iamcharliebushnell, leahsavajeffries and others

yn.ln had so much fun meeting everyone 😋

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aryansimhadri THAT MUG OF ME?! UNCALLED FOR!

↳ yn.ln you posed for it… all i did was post 🤷‍♀️

leahsavajeffries i cant believe i couldnt make it!! argh im so upset, i have to meet up with u soon!

↳ yn.ln ikkk 😖 give me a date and time ill come at ur will

user1 how is luke still alive this man is invincible

↳ user2 are we complaining tho 🤷‍♀️ like anything for more charlie screen time lets be real

dior.n.goodjohn already missing u 😖

↳ yn.ln im suffering withdrawal!

walker.scobell that food was banging

↳ aryansimhadri i want it again NOW!

user3 i love how she just met them and they already seem so close

↳ yn.ln who said that? I literally hate them all

↳ iamcharliebushnell yeah this girl is the bane of my existence, i saw her and instantly knew i didnt like her

↳ user3 exactly my point!

#charlie bushnell x reader #luke castellan x reader #percy jackon and the olympians #smau #social media au #aesthetic #charlie bushnell #in the know #x reader #artemis #ariana greenblatt

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drvscarlett · 10 days

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The Tortured Drivers' Department

— combining another one of my favorites. I'll be taking notes and writing fics about which TTPD song do I associate with the drivers ( + I will be including the retired ones). This is the main list and I'll be linking them when I finished writing them. Let me know if you wanna be tagged

Also give TTPD a listen. Its so beautiful and a masterpiece

Fortnight

— i love you, its ruining my life (Lewis Hamilton x Mercedes!reader)

The Tortured Poets Department

— At dinner you take my ring off my middle finger and put it on the one people put wedding rings on. And that's the closest I've come to my heart exploding (Pierre Gasly x ex!reader)

My Boy Only Breaks His Favorite Toys

— 'Cause he took me out of my box, stole my tortured heart left all these broken parts (Lando Norris x reader)

Down Bad

— Fuck it if I can't have him (Charles Leclerc x kpop idol!reader)

So Long, London

— You swore that you loved me, but where were the clues? (George Russell x secret girlfriend! reader)

But Daddy I Love Him

— "I'm having his baby" No, I'm not, but you should see your faces (Alex Albon x Horner!reader)

Fresh Out the Slammer

— Now, pretty baby, I'm runnin' back home to you (Esteban Ocon x childhood bestfriend!reader)

Florida!!! (feat. Florence + the Machine)

—I need to forget, so take me to Florida (Logan Sargeant x heiress!reader)

Guilty as Sin?

—What if he's written "mine" on my upper thigh only in my mind? (Oscar Piastri x bestfriend!reader)

Who’s Afraid of Little Old Me?

— I was tame, I was gentle till the circus life made me mean (Nico Rosberg x Lewis Hamilton)

I Can Fix Him (No Really I Can)

— they shake their heads, saying, "God help her" when I tell 'em he's my man (Daniel Ricciardo x longtime girlfriend!reader)

loml

— Oh, what a valiant roar. What a bland goodbye. The coward claimed he was a lion (Max Verstappen x childhood sweetheart!reader)

I Can Do It With a Broken Heart

— Lights, camera, bitch, smile (Zhou Guanyu x model!reader)

The Smallest Man Who Ever Lived

— And I'll forget you, but I'll never forgive (Yuki Tsunoda x Actress!reader)

The Alchemy

—'Cause the sign on your heart said it's still reserved for me (Kimi Räikkönen x assistant!reader)

Clara Bow

— This town is fake, but you're the real thing (Sebastian Vettel x Ferrari heir!reader)

The Black Dog

— I am someone who, until recent events you shared your secrets with (Mick Schumacher x driver!reader

imgonnagetyouback

— I'm an Aston Martin that you steered straight into the ditch (Fernando Alonso x wife!reader)

The Albatross

— She's the albatross, she is here to destroy you (Jenson Button x revenger!reader)

Chloe or Sam or Sophia or Marcus

—So if I sell my apartment and you have some kids with an internet starlet. Will that make your memory fade from this scarlet maroon? (Carlos Sainz x Vasseur!reader)

How Did It End?

— The deflation of our dreaming leaving me bereft and reeling (Logan Sargeant x Oscar Piastri)

So High School

—You knew what you wanted, and, boy, you got her (Charles Leclerc x reader ft Max Verstappen x childhood friend!reader)

I Hate It Here

—I hate it here so I will go to secret gardens in my mind (Kimi Räikkönen x interviewer! reader)

thanK you aIMee

— And then she wrote headlines in the local paper laughing at each baby step I'd take (Mark Webber x reader)

I Look in People’s Windows

—What if your eyes looked up and met mine one more time (Sebastian Vettel x reader)

The Prophecy

—Don't want money, just someone who wants my company (Pierre Gasly x politician's daughter!reader)

Cassandra

—So they killed Cassandra first cause she feared the worst (Lewis Hamilton x wife!reader)

Peter

— Forgive me, Peter, please know that I tried to hold onto the days when you were mine (Lando Norris x reader)

The Bolter

— "Oh, we must stop meeting like this" (Max Verstappen x hollywood starlet!reader)

Robin

— You have no room in your dreams for regrets (Oscar Piastri x girlfriend!reader)

The Manuscript

—One last souvenir from my trip to your shores. Now and then I re-read the manuscript. But the story isn't mine anymore (Carlos Sainz x McLaren employee!reader)

#f1 x reader #f1 imagine #f1 masterlist #max verstappen x reader #lance stroll x reader #charles leclerc x reader #carlos sainz x reader #fernando alonso x reader #jenson button x reader #sebastian vettel x reader

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vampiresfromxenon · 7 months

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Luscious, Succulent, Delectable

Astarion x gn! Tav/Reader

Around 2.3K words

Tags: Fluff, so much kissing, so much moaning (so so much), body (thigh) worship, consensual touching, mutual love, they are so insanely in love, slight angst, consensual biting/blood sucking, soft! Astarion, implied smut, no y/n

Summary: After a tough battle, you can’t help but fall apart in your tent, aching both inside and out. Astarion, whom you’ve recently committed to a relationship with, comes to your side to comfort you. Wanting to help you focus more on yourself and what your wants and needs are, he finds himself lost in exploring your thighs.

It’s been a long day. Hells, it’s been a long life. One day you wake up on a Nautiloid ship and suddenly you’re responsible for saving not just yourself, but pretty much all of Faerûn. Lucky you, right? Life’s punching bag, here in the flesh.

It’s not all bad, though. You’ve been met with some kindness along the way, though perhaps not as much as you feel you deserve. One of your traveling companions, however, has certainly delivered on his promises of ‘kindness’. For nights on end you two would sneak off into the woods, exploring each other’s pleasure limits, and for many, many mornings, Shadowheart was less than pleased to cure you of your bloodlessness.

As time went on, you learned more about Astarion, your pale, vampiric friend. You had your doubts about him at first, but you had grown to love him, caring for him deeply the more you learned about his past, the more he became vulnerable around you. After a drow from Moonrise Towers was very persistent to have Astarion drink from her, and you supported him in telling her to ‘fuck off’ (but in nicer words than you’d hoped for), you found yourselves re-evaluating your situation.

The vampire had grown to care for you, seeing much more in you than just protection. He saw something deeper, something real and fresh and… It was a bit much for him at first, but over time you both grew to be even more comfortable around each other, finding yourselves enjoying the smaller, lighter moments of intimacy that rose from being deeply in love.

Tonight was no different, as your party returns to camp from defending Halsin’s portal in the Shadow-Cursed Lands. You were covered in blood and bruises, trudging along to your tent at a slow pace. Most party members found themselves skipping dinner, just trying to sleep off their wounds and soreness. You found yourself nearly doing the same, sitting down on a soft cushion as you remove your armor, tossing it off to the side to be cleaned and polished later. Lying on your bedroll in your night clothes, you softly sigh, your body relaxing enough to where you can feel the full extent of the trauma your body went through today. Closing your eyes, you begin to doze off, trying to forget it all and think about what a new day could bring.

“How are you feeling?” A smooth voice asks, the flap of your tent crinkling as a figure wanders in. You wake with a start, sitting up to meet the new inhabitant of your tent.

“I’ve never felt better. Poets could write sonnets about how at peace I feel.” You sarcastically scoff, rolling your eyes.

Astarion grunts as he sits at your side, taking claim of the cushion you were previously on. It’s clear that today’s battle had also hit him quite hard. “I’ll be sure to sing along as they recite it.” He teases, trying to hide his discomfort. You both sit there in silence for a moment, not wanting to show a sign of weakness talking about how much your bodies ache from the day’s activities. You can’t help but break the silence first.

“I don’t know how we’re expected to do all of this. My whole body aches, I’m unsure if I’ll be able to walk properly tomorrow!” You say, exasperated.

“You carried on just fine after all those nights I left you unable to walk…” He snickers, and you playfully push at his chest.

“I’m being serious! This is a lot of pressure, so many people are relying on us, relying on me… I just don’t know how much longer I can keep doing this.” Your eyes land in your lap.

Astarion takes a softer tone, hating to see his love in such a melancholy mood. “Darling…” He sighs, his hand resting on your thigh. You flinch a little, your legs badly bruised. He is quick to notice this, and he begins to gently massage your thigh through the fabric, hoping to bring you some comfort.

“You take on too much. I know you want to help, it’s a damn curse that you care so much, but we have to focus on taking care of ourselves for a bit. We spend so much time helping other people that I think you forget we have that hellish tadpole behind our eyes. We don’t have much time left, but I know we have enough for you to take a break. Please, you need to rest. You can’t solve everyone’s problems, especially when you can’t solve your own.”

You find yourself on the verge of tears, trying to take in all these words that he would have never said to you before you became close. Hearing this from him, seeing this side of him, you know he’s serious and means every single word. He notices your silence, your closed-offness from the conversation, and he gently places his fingers on your chin, tilting your head up to meet his.

“Promise me you’ll take a break? Only focus on the tadpole stuff for a bit?” He softly asks, his eyes switching between both of yours, looking for any sign of confirmation.

“Ok…” Is all you can breathe before he leans forward to hug you, both of your bodies trembling slightly from the bruises brought on from today. He pulls from you, placing soft kisses on your cheeks before a delicate one on your lips.

“I want to help you relax.” He offers, and you nod your head, trying to follow his words of advice about taking more time for yourself. He smiles as he moves down your body, slowly removing your trousers, leaving you in just your nightshirt and underwear. He tosses them off to the side, taking in the sight of your legs. He frowns before saying something in a low, rumbling, lustful tone.

“Oh Darling, those bruises should be from me.”

He sighs before crawling between your legs, his hands caressing the sides of your thighs as he lifts your legs over his shoulders. Moving his hands up and down your thighs gently, he takes in the scent of your skin. A smile creeps on his face as your body shivers from his touch, already very eager for more. Knowing this, he decides to take his time, teasing you for as long as he can handle. His hands begin to curl around your thighs, his fingertips dragging along the inside curve of your thighs now.

“Gods, why have I been sleeping with that ratty old pillow when these have been here this whole time?” He growls, gripping your thighs a little tighter, holding them closer to his head.

You let out a small gasp from both the pain and excitement from his touch. He’s massaging your thighs a little harder now, and you can’t help but let out small moans here and there, only encouraging him to continue. You throw your head back into the pillow, your hand on your mouth as he massages a particularly sore spot. Seeing this, he stops, waiting for you to meet his gaze again. Distraught from his lack of touching, you open your eyes and look down at him to see him gazing at you through his lashes.

“Don’t you ever hide those sounds from me, darling.” He purrs, a commanding tone in his voice. He reaches through your legs to remove your hand from your face, his hand trailing down your torso in a teasingly slow pace.

“I’m not even close to being done with you yet, I intend to make you sing all night. Your throat will be aching for ages…” His words are dripping with lust, and your heart races at his usage of those dirty double entendres. His hand slips between your legs, hooking around your left thigh again, bringing it closer to his face.

Maintaining eye contact with you, he licks a stripe up your leg, starting near the junction between your torso and thigh, ending all the way up to your knee. His breath tickles your skin as he chuckles, watching you shake from his attention. He does the same with your other thigh, making sure to go just a little bit slower to really drag out your slight frustration. Your chest feels tight as it rises and falls quickly, the sound of your panting becoming loud enough to be quietly heard from outside your tent. At this point, neither of you cared if anyone in the camp heard you; it wouldn’t be the first or last time they’d hear it.

“Your body is so soft, so beautiful, so perfect. Your thighs-” He kisses the inside of your left thigh near your knee softly, his tongue tracing at your skin. As he continues to speak, he sloppily kisses down your thighs, panting from all this excitement he brought on himself. He laps at your skin like a wild, hungry animal, your legs a fresh, raw, succulent steak.

“They are delectable, darling. ~mhm~ I just can’t get enough of them. ~mhm~ The knowledge that you get to have them, ~mhm~ that they’re part of you, ~mhm~ that you walk around with them ~mhm~ every day. ~mhm~ Gods, I envy you. ~mhm~ If I had legs these perfect, ~mhm~ I’d never ~mhm~ hide them ~mhm~ from the world. ~mhm~ Just the sight of you, ~mhm~ lounging on cushions, ~mhm~ your legs draped on each other, ~mhm~ the way your legs look so soft ~mhm~ and inviting… ~mhm~ It's a wonder how ~mhm~ I don’t just take you ~mhm~ right then and there. ~mhm~ You drive me crazy, ~mhm~ my love. ~mhm~”

He pulls away from your thighs, both of you so riled up that you feel as though the air has been knocked out of you. Your head is hot from all the blushing, all the flattering comments, all the kissing. His face is slightly flushed, his pupils blown out, his eyes brimming with both love and lust. He almost sounds drunk as he speaks, his voice nearly cracking at the thought of what he wishes to do to you next. Pleading, he lies his cheek on the inside of your right thigh.

“Your thighs are so delicious. I just need a taste. Just a quick taste. Please.” You can’t deny him, not after how much pleasure he’s brought you without even touching you like that yet. You nod your head, and even though he appears desperate, he makes it clear that he’s still the one in charge, the one with the upper hand.

“If you want it, you’ve got to say it.” You whimper as he massages your leg, teasing you.

“Yes! Gods, yes!” You breathlessly exclaim.

Without wasting a single second, he sinks his teeth into your left thigh, moaning as he bites harder into your soft flesh. You moan with him, the feeling of both pain and pleasure extremely stimulating. In all your excitement, you clamp your thighs together, almost crushing his head between them. He moans even louder, his hands pressing into your thighs, encouraging the pressure. Had your legs not already been bruised, you’re sure you’d have the shape of his hands in your skin for a few days after this. During all of this, you can feel his body moving, shaking… thrusting. If you weren’t already moaning, Gods only know how you’d react to the sight of him rolling, perhaps almost slamming, his hips into your bedroll as he drinks from you, his head clamped between your thighs.

As he drinks from your thigh, you feel the sharp stinging pain from the initial bite fading away, the tingling numbness taking its place. You can feel the blood leaving your body, and it feels different from how it usually does when it leaves your neck. It’s a new, exciting feeling, hard to compare to your neck as both give such different feelings of pleasure.

You can feel him slowing down on drinking from your thigh, his throat thick with your blood, his moans slowly turning into needy little whimpers and whines. He pulls from your thigh, eagerly lapping up the blood that drips from the two puncture wounds. The sight of his desperation makes him look like he’s never had anything to drink before in his life. The pressure from your thighs around his head releases, your legs falling open as you relax. You both lie there together, his head resting on your right thigh and looking up at you as you both try to catch your breath. He goes to speak, his voice wavering as he still continues to pant, his body now full of more energy thanks to your blood.

“For a moment there, I couldn’t breathe at all. I thought about pushing your legs away from me to catch my breath, but then I realized that I could die happy knowing that my head was crushed between your luscious thighs.”

You laugh, realizing how ridiculous his statement is, as well as how arousing it is too. He smiles, gently kissing the puncture wounds on your thigh again. Climbing on top of you, he nestles his hips between your legs, and you can feel just how much he enjoyed all of that. He leans over you, kissing you lightly, pulling back to gaze into your eyes.

“Thank you.” You quietly say, brushing his hair out of his face. Your hand caresses his cheek, feeling how warm he is with all your blood rushing through his body.

“No, thank you. And besides, don’t think we’re done just yet, my love.” He gives you a knowing look, cocking his eyebrow. “I want to be the main reason you can’t walk tomorrow.”

Before anything else can be said, you hungrily grab his face, his lips crashing on to yours. Your legs wrap around his waist, drawing his body closer, his chest grinding into yours. The night wanders on, your tent rustling, full of moans and panting breaths, two people utterly, embarrassingly in love.

Author’s Note:

GUYS. Ok think back to that one scene where he drinks from Tav for the first time. You guys remember that one line of dialogue that happens if you persuade him off of you? “Mhh? Oh, of course. That - that was amazing.” His little whimper. His gulp. His panting. That one line alone was such a huge inspiration for how I wrote this, I need you all to know that that’s basically what he sounds like during most of this fic. Do with that information what you will-

(Also this is probably the closest I'll ever get to writing smut. I don’t feel 100% comfortable writing smut, but I hope you guys enjoy the moments like these as much as I do!!)

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zot3-flopped · 10 days

Text

Sylvia Plath did not stick her head in an oven for this! When Taylor Swift took the Grammys stage last month to claim her award for Best Pop Vocal Album for Midnights, she saw that spotlight as an opportunity to announce her 11th studio album: The Tortured Poets Department. The follow-up cut to audience members—Swift’s music industry peers, mind you—told us all that we would ever need to know, and the collective disinterest across the crowd echoed through our TVs.

Folks from all walks of life took to social media to express a multitude of reactions. Swifties clamored to their beloved monarch’s forthcoming era, while others lambasted the terminally cringe title and artwork and ridiculed Swift for making a night recognizing musical achievements across an entire industry about herself—knowing perfectly well that it would send her fanbase into a surge that would, no doubt, overpower the excitement around the ceremony itself.

Quite a few people questioned whether or not that moment suggested that a critical—definitely not commercial—tide would turn against the world’s most-famous pop star. And, perhaps it has—but, to most, it will look like nothing more than a single ripple in Swift’s ocean of successes.

Swift remained relatively hush-hush about The Tortured Poets Department up until its release, leaving her fans, admirers and haters alike with nothing but an album title to ponder about. And it’s a bad title.

If you have never been in Swift’s corner, her taking the route of labeling her next “era” as “tortured” was likely catnip for your disinterest. If you are a fan—not necessarily a Swiftie, but even just a casual lover of her best and brightest work—you might be beside yourself about the first Swift album title longer than one word in 14 years.

In terms of popularity—certainly not always in terms of quality—no musician has been bigger this century than Swift, which makes it impossible to really buy into the “torture” of it all.

This is not to say that Swift being the most famous person in the world makes her immune to having multi-dimensional feelings of heartbreak, mental illness or what-have-you.

But, she has made the choice—as a 34-year-old adult—to take those complex, universal familiars and monetize them into a wardrobe she can wear for whatever portion of her Eras Tour setlist she opts to dedicate to the material.

Torture is fashion to Taylor Swift, and she wears her milieu dully. This album will surely get comparisons to Rupi Kaur’s poetry, either for its simplicity, empty language, commodification or all of the above.

And, sure, there are parallels there, especially in how The Tortured Poets Department, too, is going to set the art of poetry back another decade—as Swift’s naive call-to-arms of her own milky-white sorrow rings in like some quintessential “I am going to take pictures of a typewriter on my desk and have a Pinterest mood-board of Courier New font” iPhone fodder. 2013 called and it wants it capricious, suburban girl-who-is-taking-a-gap-year wig back!

Soaking our book reports in coffee or having our moms burn the edges with a kitchen lighter cannot come back into fashion; the cyclical notions of culture cannot make the space for such retreads.

There is nothing poetic about a billionaire—who, mind you, threatens legal action against a Twitter account for tracking her destructive private jet paths—telling stadiums of thousands of people every night that she sees and adores them.

Tavi Gevinson says it well in her Fan Fiction zine: “When 80,000 people are also crying, you become less special, too.” If Swift can return to one of her dozen beach houses across the world, kick up her feet and say “I’m a poet of struggle,” then who is to say that millions—maybe billions—of people with access to a notes app and a social media account won’t dream that dream, too?

Maybe that looks like a net-positive, but it’s inherently damning and destructive to take an art form that has long stood on the shoulders of resistance, of love and of opposition to power, systematic injustice and climate warfare and boil it down to the new defining era of your own 10-digit revenue empire. “My culture is not your costume,” yada, etc.

The Tortured Poets Department does begin with a shred of hope that, just maybe, Swift knows what she’s talking about—as she sneaks in a cheeky “all of this to say,” textbook transitional phrasing for poets, on opening track “Fortnight.”

But “Fortnight” unmasks itself quickly as a heady vat of pop nothingness, though it isn’t all Swift’s fault. “I was a functioning alcoholic, ‘til nobody noticed my new aesthetic,” she muses, attempting to bridge the gap between a behind-the-scenes life and on-stage performance—only for it to occur while propped up against the most dog-water, uninspired synth arrangement you could possibly imagine.

Between producer Jack Antonoff’s atrocious backing instrumental and the Y2K-era, teen dramedy echo chamber of a vocal harmony provided by out-of-place guest performer Post Malone, “Fortnight” chokes on the vomit of its own opaqueness.

“I took the miracle move-on drug, the effects were temporary,” Swift muses, and it sounds like satire. This is your songwriter of the century? Open the schools.

The Tortured Poets Department title-track features some of Swift’s worst lyricism to-date, including the irredeemable, relentlessly cringe “You smoked then ate seven bars of chocolate, we declared Charlie Puth should be a bigger artist / I scratch your head, you fall asleep like a tattooed golden retriever” lines glazed atop some synthesizers and drums that just ring in as hollow, unfascinating costuming.

Aside from the Puth nod, which I can only discern as a joke (given the fact that he is one of the 150-most streamed artists in the world and is one of the blandest pop practitioners alive—I don’t care if he can figure out the pitch of any sound you throw at him), I think Antonoff should stick to guitar-playing. Get that man away from a keyboard, I’m begging you.

Synths can be, if you use them correctly, one of the most emotional and provocative instruments in any musician’s tool-box. There’s a reason why keyboards defined the 1980s; they rebelled against the very oppressive nature existing outside of the cultural company they kept. There’s resistance in electronic music that, while they brandish an aesthetic that, to a layman’s ears, seems like technicolor hues for any infectious pop track, it’s a genre that aches to tell its own story. That is simply not the case here, and that electronica hangs Swift out to dry when she drags us through the lukewarm “I laughed in your face and said, ‘You’re not Dylan Thomas, I’m not Patti Smith’ / This ain’t the Chelsea Hotel, we’re modern idiots” lines, only to hit us with a softly sung F-bomb that sounds like a billionaire’s rendition of that one Miranda Cosgrove podcast clip.

I used to rag pretty heavily on Reputation—mostly because I thought (and still do, mostly) that it sounded like Swift had given up on making interesting, progressive pop music; that, in the wake of her (arguably) best album, 1989, it seemed like she’d lost the plot on where to go next. But as she’s put out Midnights and The Tortured Poets Department back-to-back, I find myself clamoring for the Reputation-era more than ever—at least seven years ago, Swift wrote songs like she had something to prove and even more to lose.

That was the always-obvious charm of Reputation, even despite the downsides—that she took a big swing from the echelons of her own musical immortality, that the comforts of winning every award and selling out the biggest venues in the world were no longer pillowing her aspirations. Even though that swing didn’t land, she still made it in the first place—and Swift is at her best either when she is clawing upwards (Reputation) or faced with nowhere to go but into the studio and noodle with the bare-bones of her own sensibilities (folklore).

You get something like The Tortured Poets Department when the artist making it no longer feels challenged, where she strikes out looking.

The mid-ness of The Tortured Poets Department will not be a net-loss for Swift. She will sell out arenas and get her streams until she elects to quit this business (a phrase decidedly not in her vocabulary, surely).

She will sell more merch bundles than vinyl plants have the capacity to make, and rows of variant LP copies will haunt the record aisles of Target stores just as long as Midnights has—if not longer.

Perhaps, in five or six years’ time, we will speak of this record just as we now do of Reputation. But right now, it is obvious that Swift no longer feels challenged to be good. The Tortured Poets Department is the mark of an artist now interested in seeing how much their empire can atone for the sins of mediocrity.

Can Swift win another Album of the Year Grammy simply because she released a record during the eligibility period? The Tortured Poets Department reeks of “because I can,” not “because I should.”

On “I Can Fix Him (No Really I Can),” Swift tries stepping into the shoes of the country renegades who came before her—the Tammy Wynettes and Loretta Lynns of the world. But her self-aggrandizing inflation of importance, glinting through via a seismically-bland bridge, is backed by a minimal set dressing of guitar, drum machine and keys.

“Good boy, that’s right, come close,” she sings. “I’ll show you Heaven if you’ll be an angel—all mine. Trust me, I can handle me a dangerous man. No, really, I can.” On “Florida!!!,” Swift calls upon Florence + the Machine to help her sing the worst chorus of 2024: “Florida is one hell of a drug / Florida, can I use you up?”

Even Welch, who is a fantastic pop singer-songwriter in her own right, delivers a grossly watery verse: “The hurricane with my name, when it came I got drunk and I dared it to wash me away.”

Not even the typos on the Spotify promotional materials for this album could have foretold such offenses. I won’t even get into the sonics, because Antonoff just rewrites the same soulless patterns every time.

What separates The Tortured Poets Department from something like Reputation is that, on the latter, Swift made it known what was at stake and who she was making that album for—herself, in the aftermath of her greatest long-standing criticisms (“Look What You Made Me Do” triumphs exactly because of this).

On The Tortured Poets Department, there is a striking level of moral nothingness. The stakes are practically non-existent, and the album sounds like it was made by someone who believes that they had no other choice but to finish it, as if Swift fundamentally believes that her creative measures are firmly embedded in the massive monopoly her name and brand currently hold on popular music. That’s how you get meandering pop songs about hookups, wine moms, Stevie Nicks comparisons, Jehovah’s Witness suit mentions, hollowed-out, tone-deaf nods to white-collar crime in lieu of empowerment and, topically, Barbie dolls.

(Don’t even get me started on the Anthology lyrics, which feature these absolute barn-burners: “Touch me while your bros play Grand Theft Auto” and “My friends used to play a game where / We would pick a decade / We wished we could live in instead of this / I’d say the 1830s, but without all the racists / And getting married off for the highest bid.”) This album and its hackneyed grasps at relevance exist as “Did I just hear that?” personified, but in the most derogatory sense of the notion.

My Boy Only Breaks His Favorite Toys” features another low-point in Swift’s lyrical oeuvre, as she sings “I felt more when we played pretend than with all the Kens, ‘cause he took me out of my box”—perhaps a measure of her capitalizing on the Barbenheimer mania that none of us could escape, not even the musician who spent most of 2023 flying across the world from one country to another.

But you, us, the listener—we want to believe that Swift makes these records because she has the artistic will, drive and interest to continue giving us parts of her story in such ways that they exist as an archival of her life.

But the problem is that, on The Tortured Poets Department, Swift is packaging her life into a form that is easily consumable for the 17 or 18 years olds who pour over her music. Just because her Eras Tour film is on Disney+ doesn’t mean she has to strip her songwriting (which we know can be, and has been, phenomenal) down for the sake of it being digestible by a wide spectrum of ages.

And, sure, maybe that makes the work accessible. But on The Tortured Poets Department, Swift makes Zoomer jargon her bag—titling a song after one of the most popular video games in the world and conjuring flickers of “down bad” and “I can fix him”—and it feels like she’s cosplaying because the Fountain of Youth was out of order.

Now that Swift is in her 30s, it sounds like she is infantilizing her own audience more than ever before—that singing to them at a level that could force them to reckon with something more akin with adulthood would be some kind of kink in the coil or her consumeristic threshold, that writing lyrics that sound like they were penned by a 30-year-old would, somehow, deter the interests of the billions of people who adore her.

If making one, continuous coming-of-age album is what Swift has been doing for 15 years, folklore and evermore were hiccups in the timeline—existing as the most fully-formed renderings of Swift’s own insecurities and concerns. They mirrored our platitudes towards an uncertain future with sweet, stirring remarks about isolation and heartbreak and the unavoidable, hard-worn truth about getting older. On those records, her larger-than-life living seemed, for once, to truly feel as close to the ground as ours.

Now, though, Taylor Swift is at the top of the mountain. Far better artists have made far worse records than The Tortured Poets Department, but you can’t read between the lines of this project. There is nothing to decipher from a place of quality.

Sure, Swift’s fan base will pour over these lyrics for the rest of their lives—insisting they know, for certain, which song is about who. But you cannot place a bad album on the shoulders of lore and expect it to be rectified.

We are now left at a crossroads. Women can’t critique Swift because they’ll run the risk of being labeled a “gender traitor” for doing so. Men can’t critique her because they’ll be touted as “sexist.”

And, sure, Swift is probably too easy a punching bag in this case—and most of the time, I would argue she is undeserving of being a victim of such barbs. But, you cannot write about someone being a “tattooed golden retriever” and get away with it and still retain your title as the best songwriter of your generation. You just cannot.

Sisyphus should be glad he never got the boulder to the top of the mountain—because Taylor Swift is showing us that such immortality and success ain’t all it’s cracked up to be. And, when you’re standing on the peak alone, who else is there left to hit?

In a recent interview with The Standard, Courtney Love said that Swift is “not interesting as an artist,” and I think The Tortured Poets Department proves as much. She has nothing to fight for, no doubters left to drown.

So where does she turn? Well, to boredoms of celebrity thinly veiled as sorrow everyone and their mother can latch onto—because we’ve all had to “ditch the clowns, get the crown” at some point in our lives, right?

The billionaire is having an identity crisis, but there are no social media apps for her to buy up. So she sings like Lana Del Rey and writes meta-self-referential songs about looking like Stevie Nicks.

What’s hollow about The Tortured Poets Department is that the real torture is just how unlivable these songs really are. No one can resonate with “So I leap from the gallows and I levitate down your street, crash the party like a record, scratch as I scream ‘Who’s afraid of little old me?’ You should be.” And normally, that wouldn’t be an end-all-be-all for a pop record—but when your brand is built on copious levels of “I’m just like you!” as the demigod saying it to their fans does so from a multi-million-dollar production set, it’s hard to not feel nauseated by the overlording, overbearing sense of heavy-handed detritus we’re tasked with sifting through on The Tortured Poets Department.

Love’s words to Lana, her advice to “take seven years off,” should be applied to Swift. Now, that doesn’t mean that, to make a good album, you must sit on material for years and labor extensively through the sketching, shaping and recording in order for it to be transcendentally landmark. But it’s obvious now that not even Taylor Swift wants to be the head of an empire—that she, too, can’t outrun the damning fate of being plum out of ideas by hopping in her jet and skirting off to God knows where.

See you at the Grammys.

****

#this review is everything #anti taylor swift #taylor swift #travis kelce #3.6 !!!#hope Pitchfork comes for her too #jack antonoff #taylor swift reviews #the department of tortured poets

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tamarrud · 2 months

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Ya Zareef al-Toul / ياظريف الطول

Among some of the most famous Palestinian folk songs is Ya Zareef al-Toul, which is a love song turned revolutionary, addressed to an enigma; a tall handsome revolutionary man during the British mandate of Paletsine.

Zareef al-Toul, which translates to tall and handsome, is rumored to be a Palestinian young man who got the nickname because of his physical height. He was working in a town away from his own. The women in this town were infatuated by his manners and all wished for him to marry their daughters.

One day, terrorist gangs raided the town and he was amongst those in the frontlines defending the town. It was then discovered that he would save up his money from his carpentry work to buy rifles for the men of the town.

One day, Zareef al-Toul left the town and never returned, which prompted the first verse of the song:

يا ظريف الطول وقف تقلك رايح عالغربة و بلادك أحسن لك خايف يا ظريف تروح و تتملك و تعاشر الغير و تنساني أنا

Oh tall, handsome man, wait so I can talk to you You are choosing to go abroad but your homeland is better for you I worry that you will leave and start to own land elsewhere, Accompany others, and forget about me

Naturally, poets and composers built on this verse and created many versions of the song based on the feelings they wanted to invoke making Ya Zareef al-Toul a song about sadness and longing but also about revolutionary love, giving the first verse a popular space within Palestinian wedding songs.

Throughout the years, the song travelled across the region, most notably landing in Lebanon with Nasri Shamseddine. The first verse also landed on various music genres such as with Palestinian artist Haifa Kamal's version of the song who used electric guitars.

Perhaps one of the most popular additions is sung by Palestinian band El-Funoun (translation included) and more recently with Palestinian band 47SOUL who added this verse to the song:

يا ظريف الطول الحق يا ظريف اللي قالوا عنها تريدك نزفت عالرصيف بيقولوا دورك يا خيتا عنّا خفيف هدول اللي ما عرفوا تاريخ بلادنا

Oh tall, handsome man Hurry up, your beloved is bleeding on the sidewalk Those who say your role, dear sister, is insignificant Are those who are ignorant to the history of our land

Although the whereabouts of Zareef al-Toul have been debated, as some claimed to have seen him in other neighbouring Palestinian villages while others insisted he had joined groups of Palestinian freedom fighters at the time, one thing is undebatable: Zareef al-Toul had an everlasting impact on Palestinian culture and folklore, making his nickname recognizable across generations both in Palestine and in the diaspora, to whom love and revolution are closely connected in the fight for freedom.

More songs are shelved at my (humble but growing) Palestine folk music library.

#palestine #music #palestine folk music library

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blingblong55 · 6 months

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My Love, Mine all mine -Simon 'Ghost' Riley

Based on a request:

"Broken men know who to love, but not how to love. Broken women know how to love, but not who to love." This is so Simon related 🥺🥺

---- F!Reader, fluff ----

A/N: Because he isn't always some tough masked solider, he is a man with wounds and a life beyond the battle field

It wasn't a shared feeling, he knew that well. You and he had stayed up and talked about a future like you had a clue. He knew your issues, love isn't what you want at times, you miss it, want it, but sometimes just at times, you can't give in to it, in fear of something greater that you don't know about. The smoke of his cigarette gave his not-so-secret hiding spot away. "Better not ask for my jumper again, doll," he knew you were there, knew those steps all too well. You chuckle, "You have to be some superhero," you sit beside him. He shrugs, "Just a mere mortal," he smiles. Silence between you two, speaking the words lips fail to say.

Simon knew you he was meant to love you, but not ever meant to show it. And just as he was about to speak, you rested your head on his shoulder. Classic way to ask for his jumper because you once again forgot your own. "No, not this time, I'm sick today," he excuses. "What if I get sick?" you ask and he chuckles. "You can never get sick darling, remember New Year's Day last year?"

It was cold, wind and snow surrounded you and he walked to you. The night died down rather quickly, lovers kissing inside as you walked in the snow. Thirteen years of knowing the other, he knew you too well, you want to avoid the romance, avoid the cliche and have something different, but not all can be unique. You know well, he knows too, you turn around, "Go back inside, Si, you'll get sick." He shakes his head. "What, you're telling me you won't take care of me, love?" He gets closer to you, a little pout as he gives you his puppy eyes. "Don't do that, Simon." He smirks. "Doing what, all I'm saying is, why not let me be here with you and just shit-talk all those people who might invite us to their baby showers?" You laugh. "I'm wearing blue," you comment he rolls his eyes. "No way you'll make me wear pink," he shakes his head. You ignore it, knowing a baby shower would come within nine to ten months from your friends.

He knows you. He just doesn't know if he can ever love you. In this world, a man like him isn't guaranteed a happy ending. Maybe a cut to the throat, death in a dark place, bullets blazing as his body takes its last breaths, that is a guaranteed end. Nothing in this world belongs to him, not even the knife he carries. "I almost got sick," you recall. "Keyword is almost," he looks at the skyline. "So, what is new?" he looks over to you. "Same old story." It was mad, to know he can be the man who loves you unconditionally. You could stab him in the back a million times and a million times he would thank you for doing it. Love works in different ways, his love is dark and deep but real. You could break his heart, expose him to the world, turn him into his enemy, kill him over and over, and each time, he would say he loves you.

It's a dark and twisted fairy tale to love him, but it's love that no one can take from him. He can tell you he loves you over and over, but you would still ask him if it was true. You can kiss him, care for him, hug him in days or nights when he is the most vulnerable, burn the world and watch it fall apart for him, only to have him think it's all foolery. One hug, one kiss, and he would still question what love is. The meaning displayed in your eyes, the feeling displayed in his gaze but neither are too brilliant to take a step and claim what the poets oh so need to see. You are conflicted, getting your heart broken over and over by many lovers, asking and crying to the starry nights what is so wrong with you.

Do you love too much, do you care too much? What if it's you and not them? What then? Simon, the cold stare to the passers and the soft gaze to you. R/N, the confused lover with issues and questions that one man's lips hold the answers to. One New Year's Day, one whisper of a truthful 'I love you,' two hearts, one bed, tears and promises. What makes love is not what others perceive it as. Not for a soldier, not for a civilian who questions all her love. At dinner with friends, questions were asked of when either would settle down like the others did, not knowing the answer was right at that table. Simon and R/N, are two complicated hearts that beat for one reason. To live. But those two words can be more than just a basic meaning.

One stormy night, knock on the door and he opens, shirtless and with hope. "Hi," your hoarse voice is too soft. He opens his arms and you run to them. Antidote, what a soldier like him found in that night when he promised he would be more than just a soldier but a man who loves a woman. A woman who cries in his arms as she gets heartbroken again. Boyfriends, thinking they are better than a true woman who all she wants to do is love and care. Something a soldier like him looks for in the dark. "They don't know what they lost, dear," he kisses the top of your head as he holds you close to him. He is done trying to find reasons to not love you.

You are tired of not finding enough excuses to call him home. Your home. His home. An embrace of a man who all he wants to do is protect the last thing on this earth to love him. It was a shared feeling, you both know that well. It is believed that since the creation of our universe, our galaxy, the dust that made us, always tries to find a way back to its other half. And, as he holds you close, two hearts, under one roof, he finds home, and you find home too. It's not about what piece is broken but what is still there. It's not about love or who or how to love.

Sometimes, love is not just a kiss, sex and a caress. Love is sometimes about waking up late morning, hair all messy, bodies tangled with the sheets and a burst of lazy laughter as you realise your lipstick is all over his face. Love is respect, honesty, trust, happiness, fun, and him, holding you near as he watches you cry over something small. Love is about being imperfect, flawed, broken and having the one you care for sit down, love you a little extra that day and watch as you fix yourself with his hand holding yours.

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@ghostslillady @queen-ilmaree @jnsmeyv @madamemelancholysstuff @kit-kats06 @ghostslittlegf @trulyunknownone @rogerfxckingtaylor @cripitique @sinners-sins

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