A get-rich slow scheme
$10 in quarters for $9.80 with free shipping.

ellievsbear
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Misplaced Lens Cap
Mike Driver
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Sade Olutola

if i look back, i am lost

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@justfinishthedamnhat
A get-rich slow scheme
$10 in quarters for $9.80 with free shipping.
Hand kissing is sacred, high romance and I think we need to revive it
Let trans men be as feminine or as masculine as they want
also let trans women be as masculine or feminine as they want
reblog this version too cowards.
ATTENTION COSPLAYERS:
I would like to make the paint brand âAngelusâ known. It is a special paint that is for leather, faux leather, rubber, and similar surfaces.
This is literally the best paint you can buy if you love a pair of shoes, but they arenât in the right color for your character.
This stuff coats VERY well AND the coats of paint bend with your shoes. This means no cracking!!
In the photos above I took black rain boots and painted them with Angelus Turquoise. As you can see, they donât look black any more! Itâs so good!
I managed to paint two boots with a little one ounce bottle of the paint, and I still have a third of the bottle left over!
The paint dries very fast, so you can put layer on top of layer on top of layer without it streaking.
You can get the paint on Amazon and it comes in every color!
I just really wanted to make this known!! :D This stuff is amazing!
https://angelusdirect.com/collections/paint
Donât buy Angelus painât on Amazon, itâs like $6.99 an ounce. Buy it direct from their online store the poster above linked, the single ounce bottles are $2.95 there. Also, a little goes a long way, unless you have something HUGE to paint, you can probably do it with a small bottle. I barely dented the one I got doing all the black on this;
Angelus is amazing! Just leave a little shipping time from their siteâmy brother and I customize sneakers with it, and they work well even on everyday wear items
Professional here, if youâre painting Brand New Anything, hit it with a little alcohol first to get rid of the sealer they generally put on it (leather) or to chemically rough up the top layer of shiny nonsense (pleather/vinyl/etc). If youâre painting A Thing that has been leather painted before, use pure alcohol and REMOVE AS MUCH PAINT AS YOU CAN. Painting over Paint leads to Unhappy Paint Results. Do VERY THIN LAYERS and let them dry between each. Fully dry. Not like, I painted the other one the first is dry now layers, like I WALKED AWAY AND DIDNâT TOUCH THIS FOR AN HOUR dry. The thicker your layers, the more likely you are to have a peeling-off issue. Using their sealer after the paint is done gives you the best result and stay-ability. HOWEVER, do not expect miracles from Angelus. No paint on the planet can stand up to a determined musical theater chorus girl, the flex point of her shoes, and a six-show week. You WILL still have to do small touch ups, so if youâve mixed your own color, HOLD ON TO IT for later.
no offense @life but can I have a breather⊠a break⊠some slackâŠ
scorpius: mic drop
draco: weâve been banging for over a year. also, iâm going to kill you
OMG I LOVE IT
The thing about Jake and Amyâs relationship is that there are no annoying tropes such as âchasing obsessively after each otherâ because they are both using up all of their Stalker EnergyTM to pursue Ray Holtâs Dad Approval and I think itâs beautifulÂ
Schur loved not only the central thesis of âWhat We Owe to Each Otherâ but also the bookâs title. âIt assumes that we owe things to each other,â he told me. âIt starts from that place. Itâs not like: Do we owe anything to each other? Itâs like: Given that we owe things to each other, letâs try to figure out what they are. Itâs a very quietly subversive idea.â
It is, in a way, deeply un-American â an affront to our central mythology of individual rights, self-interest and the sanctity of the free market. As an over-the-top avatar of all our worst impulses, Eleanor is severely allergic to any notion of community. And yet her salvation will turn out to depend on the people around her, all of whom will in turn depend on her. What makes us good, Chidi tells her, is âour bonds to other people and our innate desire to treat them with dignity.â
source
Dr. Azumi Fujita drinking from a mug that says âI can read your mind and you should be ashamed of yourselfâ is a big mood
FUCKING MOOD
itâs hilarious to me when people call historical fashions that men hated oppressive
like in BuzzFeedâs Women Wear Hoop Skirts For A Day While Being Exaggeratedly Bad At Doing Everything In Them video, one woman comments that sheâs being âoppressed by the patriarchy.â if youâve read anything Victorian man ever said about hoop skirts, you know thatâs pretty much the exact opposite of the truth
thing is, hoop skirts evolved as liberating garment for women. before them, to achieve roughly conical skirt fullness, they had to wear many layers of petticoats (some stiffened with horsehair braid or other kinds of cord). the cage crinoline made their outfits instantly lighter and easier to move in
it also enabled skirts to get waaaaay bigger. and, as you see in the late 1860s, 1870s, and mid-late 1880s, to take on even less natural shapes. we jokingly call bustles fake butts, but trust me- nobody saw them that way. it was just skirts doing weird, exciting Skirt Things that women had tons of fun with
men, obviously, loathed the whole affair
(1864)
(1850s. gods, if only crinolines were huge enough to keep men from getting too close)
(no date given, but also, this is 100% impossible)
(also undated, but the ruffles make me think 1850s)
it was also something that women of all social classes- maids and society ladies, enslaved women and free women of color -all wore at one point or another. interesting bit of unexpected equalization there
and when bustles came in, guess what? men hated those, too
(1880s)
(probably also 1880s? the ladies are being compared to beetles and snails. in case that was unclear)
(1870s, I think? the bustle itself looks early 1870s but the tight fit of the actual gown looks later)
hoops and bustles werenât tools of the patriarchy. they were items 1 and 2 on the 19th centuryâs âFashion Trends Women Love That Men Hateâ lists, with bonus built-in personal space enforcement
Gonna add something as someone whoâs worn a lot of period stuff for theatre:
The reason you suck at doing things in a hoop skirt is because youâre not used to doing things in a hoop skirt.
The first time I got in a Colonial-aristocracy dress I felt like I couldnât breathe. The construction didnât actually allow me to raise my arms all the way over my head (yes, thatâs period-accurate). We had one dresser to every two women, because the only things we could put on ourselves were our tights, shifts, and first crinoline. Someone else had to lace our corsets, slip on our extra crinolines, hold our arms to balance us while a second person actually put the dresses on us like we were dolls, and do up our shoesâwhich we could not put on ourselves because we needed to be able to balance when the dress went on. My entire costume was almost 40 pounds (I should mention here that many of the dresses were made entirely of upholstery fabric), and I actually did not have the biggest dress in the show.
We wore our costumes for two weeks of rehearsal, which is quite a lot in university theatre. The first night we were all in dress, most of the ladies went propless because we were holding up our skirts to try and get a feel for both balance and where our feet were in comparison to where it looked like they should be. I actually fell off the stage.
By opening night? We were square-dancing in the damn things. We had one scene where our leading man needed to whistle, but he didnât know how and I was the only one in the cast loud enough to be heard whistling from under the stage, so I was also commando-crawling underneath him at full speed trying to match his stage positionâwhile still in the dress. And petticoats. And corset. Someone took my shoes off for that scene so I could use my toes to propel myself and I laid on a sheet so I wouldnât get the dress dirty, but that was itâI was going full Solid Snake in a space about 18âł high, wearing a dress that covered me from collarbones to floor and weighed as much as a five-year-old child. And it worked beautifully.
These women knew how to wear these clothes. Itâs a lot less ârestrictiveâ when itâs old hat.
I have worn hoop skirts a lot, especially in summer. I still wear hoop skirts if Iâm going to be at an event where I will probably be under stage lights. (For example, Vampire Ball.)
I can ride public transportation while wearing them. I can take a taxi while wearing them. I can go on rides at Disneyland while wearing them. Because Iâve practiced wearing them and twisting the rigid-but-flexible skirt bones so I can sit on them and not buffet other people with my skirts.Â
Hoop skirts are awesome.
Hoop skirts are also air conditioning. If you ever go to reenactments in the South, particularly in summer, youâll notice a lot of ladies gently swaying in their big 1860s skirts â because it fans all the sweaty bits. Youâll be much cooler in a polished cotton gown with full sleeves, ruffles, and hoopskirt than in a riding jacket and trousers, let me promise you! (This is part of the reason many enslaved women also enthusiastically preferred larger skirts â they had more to do than sit in the shade, but theyâd get a bit of a breeze from the hoopsâ movement as they were walking.) Â
Theyâre also â and I canât emphasize enough how important this is â really easy to pee in. If youâre in split-crotch drawers (which, until at least the 1890s, you were), you can take an easy promenade a few feet away from the gents and then squat down and pee in pretty much total privacy. It gives so much freedom in travel when itâs not a problem to pee most anywhere.
People also donât realize that corsets themselves were a HUGE HUGE IMPROVEMENT over previous support-garment styles â and if you have large breasts that donât naturally float freely above your ribcage (which some peopleâs do! but itâs not that common), corsets are often an improvement over modern bras.
They hold up the breasts from underneath, taking the weight of them off your back. Most historical corset styles donât have shoulder straps, so youâre not bearing the weight of your breast there, either, and you can raise your arms as far as your dressâs shoulder line allows (which is the actually restrictive bit â in my 1830s dress, literally all I can do is work in my lap, but in my 1890s dress I can paddle a kayak or draw a longbow with no trouble. Both in a full corset). They support your back and reduce the physical effort it takes to not slouch, helping avoid back pain. Theyâre rigid enough that you donât usually have to adjust your clothing to keep it where it belongs. Theyâre flexible â if youâre having a bloaty PMS day you just ⊠donât lace it as tightly, and if your back muscles are sore you can lace it a little tighter. And you can undo a cup (or, yâknow, not have breast cups) to nurse a baby without losing any of the structural integrity of the garment.
I do educational/historical dressing and people are really insistent, like, âThe corset was invented by a man, wasnât it?â  âActually, women were at the forefront of changing undergarment styles throughout the 19th century!â âBut itâs true that it was invented by a man.â Â
Uh, well, itâs hard to say who âinventedâ the style but itâs very likely that womenâs dressmakers mostly innovated womenâs corsets and menâs tailors mostly innovated menâs corsets, honey. Because those exist too.
This post is incredible. đ±
Bi Culture: Being attracted to Sweet Good Boisâą and girls that look like they could kill you
Friends can break your heart too man and that shit hurts like hell
One more and the Gayfinity Gauntlet is complete
Bobby doesnât feel fear he redecorates the bedrooms of heterosexuals