#the rag

[dandalfthewhite]

Chapters: 3/3 Fandom: Leverage (US TV 2008)

I just post the last part of this little fic. I had a lot of fun writing it so I hope you enjoy it!

Summary: When Breanna's gaming friend asks for help after her grandparents get trapped in a predatory solar lease scam, the Leverage team discovers the villain of the week, Montgomery Grimsby, has been systematically targeting vulnerable homeowners across New Orleans. Time for some creative justice.

[anthropologistfromentropy]

Honestly, I love young Razumovsky alters so fucking much. Especially Bird (the one in the middle).

Like as an adult Sergey and Bird are objectively awful people in canon. But as a kid/teen? If they were real I would honestly die or kill for them if I had to, I wouldn't even care if they had actually burned those bullies.

I wish there was more representation of angry, plural queer teens. They deserve all the love.

[nubiledirtybubble]

How to use rags as period pads: a guide

Intro (can skip):

I lost my job at the start of the pandemic and had to start being even more conscious than usual about spending. I take hormonal BC but I still get my period once every few months. The cost of sanitary products wasn't huge in my area but, since my periods are so heavy, it was a big dent in our budget.

We had a pack of bar rags, gifted to us, and I got to thinking. One cycle I did some fenagling and discovered my now favorite way to sop up my blood.

Step 1: Get a rag

-the rag doesn't need to be brand new, you can sanitize an old one and it'll be totally cool (even if it retains stains)

-to sanitize:

-hand wash the rag with hot water and hand soap or machine wash it with your clothes

-make a diluted bleach solution with hot water(can be fairly diluted to save bleach)

-pick a container with a lid, be sure it's bleach safe (plastics that are bleach safe will be marked "2" or "3"), big mason jar is good

-put the rag in the solution and shake it up

-let it sit for a couple hours

-rinse it out and hang to dry!

Here's an example picture of one of my rags to show what they can look like even after full sanitization. It's got holes, it's got stains, but it's clean as a whistle y'all. No need to dispose of it!

Step 2: Wearing it

(I will be showing this process flat so it won't be completely accurate to how you'd do it irl. But hopefully it gives you the gist.)

-Fold the rag in half (long ways if it's not a square)

-Place the folded rag in your underwear where a pad would go, adjust it so it covers your whole vulva plus an inch above where it starts. If it doesn't reach all the way to your ass, get a bigger rag.

-Once the rag is placed and your underwear are pulled up, reach behind you and grab the back corner of the rag from underneath like this:

-then pull that part open, to create a sort of "wing" effect. I find this keeps the rag from crumpling between your legs especially if you have bigger thighs. It gives better coverage and comfort when sitting down. This is approximately how it looks when opened but keep in mind it'll be between your legs so it'll feel tighter and more stable than it looks here:

The best options for underwear for this method are ones with good coverage. I like to use boxer briefs or just briefs. I've used bikini underwear with this method before as well but I like the sturdiness of larger types.

If you have any questions feel free to ask!!

[kyluxtrashpit]

An Archive of Our Own, a project of the Organization for Transformative Works

After the events at the warehouse, Sergey struggles, knowing he has no right to it considering it was everyone else who was hurt and not him. But he can't hold it in, no matter how much he wants to. Oleg realizes something is wrong, goes looking for Sergey, and finds Rag instead.

So this was one of the ideas I had post-PD9 and meant to finish before 10 but that didn’t happen so lmao. Anyway au where Rag makes an appearance in the aftermath of the warehouse

[auskultu]

This Thing Called Love?? The Songs of Leonard Cohen

Judith Addams, The Rag, 6 February 1968

So you start off with "Suzanne" which Ralph Gleason has called the "achingly perverse anthem of the love generation" and you end with a shriek at the love that teaches lovers to "tarnish the Golden Rule." You are left wondering what it is that the generation called the "love generation" is concerned with.

The songs on the album, taken in sequence, show the steady degeneration of love and loving. There is one stopping place along the way—as if to offer you a chance to change your mind—then you turn the record over and say "So Long, Marianne." The stopping place offered by "The Sisters of Mercy" has been to no avail. The desire to eat one's cake and have it too (it makes more sense that way 'round) pops up immediately after the goodbye. We said farewell, but why must it be painful? Don't say goodbye all sad...."eyes soft with sorrow"...remember the loving...."the kisses deep and warm"... the hair upon the pillow, ..."like a sleepy golden storm."

But what follows is desolation. There is no such thing as a painless goodbye when the importance of love is what it is. "Stories of the Street," "Teachers," and finally

"One of Us Cannot be Wrong" all build and mount upon one another until the very last moment, when someone is heard singing along with the instrumental of the melody. As it repeats, the singing, done at the top of the singer's capabilities, turns into a shriek. It's kind of like listening to "Hard Rain," "Desolation Row," and "Memphis Blues Again" all in a line.

This album is Leonard Cohen's first in this country. He is a Canadian poet and novelist with a sizable reputation, and songwriting and singing are the latest ventures in a series of various modes of self-expression. Were he less talented or intelligent, he would be called an exhibitionist. His singing voice has a flat, almost metallic quality to it, and the melodies suffer from lack of variety; yet the effect is more often hypnotic than boring. John Simon is the musical director and producer of this album and he has done a superb job. In "Sisters of Mercy," there is a point at which Cohen sings "moon" and you can't tell when the voice stops and it is the guitar bass you're hearing, Simon, in every case, has matched arrangement perfectly with Cohen's voice and the content of the poems.

Cohen, according to a Canadian Broadcasting Company documentary on him, lived for many years with a girl called Marianne, spending eight or nine months of the year with her in Greece. "So Long, Marianne" has strains of Greek folk music all through it, along with the close harmony of what one instantly labels "gypsy violin." In addition, there is a rock and roll kind of singing counterpoint reminiscent of the Raelets,

Arrangements are sometimes intricate, never intrusive. Sometimes there is only a guitar, sometimes there is practically an orchestra. At all times, the words are haunting. In "Stranger Song," the man accuses the woman of crippling him with her sheltering love: in breaking away he says, "I told you when I came I was a stranger" and he leaves her with the jokers, but not much room for laughter. And "...like any dealer he was watching for the card that is so high and wild he'll never need to deal another... he was just some Joseph looking for a manger."

References to Catholicism are in much of Cohen's work. The song immediately following "Suzanne" is sung by a man who has lost his lover to Christ. Imprisoned still by his love 'for her, he says "now you come back to bring your prisoner wine and bread." As with Dylan's love songs, personal experience is translated so as to have universal significance. No poetry is decipherable on one level only, and this is at the heart of the appeal of Songs of Leonard Cohen.

[lisamarie-vee]