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amphibious-thing · 6 months

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Pink is for Boys

"Pink or Blue? Which is intended for boys and which for girls? This question comes from one of our readers this month, and the discussion may be of interest to others. There has been a great diversity of opinion on this subject, but the generally accepted rule is pink for the boy and blue for the girl. The reason is that pink, being a more decided and stronger color, is more suitable for the boy, while blue, which is more delicate and dainty, is prettier for the girl." ~ The Infants' Department, June 1918

[Left: The Blue Boy, oil on canvas, c. 1770, by Thomas Gainsborough.

Right: The Pink Boy, oil on canvas, c. 1782, by Thomas Gainsborough.]

Pink is for girls and blue is for boys. But it hasn't always been this way. Colour coding infants as a way of denoting gender was popular in 20th century America. The problem? Pink and blue? Which is for boys and which is for girls?

In 1927 TIME Magazine asked ten of the "leading stores that sell baby equipment" which colour was for which gender. Four stores responded pink for girls and blue for boys; Macy's (Manhattan), Franklin Simon (Manhattan), Wanamaker's (Philadelphia) and Bullock's (Los Angeles). Five stores responded pink for boys and blue for girls; Best's (Manhattan), Marshall Field's (Chicago), Filene's (Boston), Maison Blanche (New Orleans) and The White House (San Francisco). Curiously Halle's (Cleveland) responded that pink was for both boys and girls.

This debate would continue and it wasn't until mid-20th century that pink for girls and blue for boys became firmly cemented in western culture.

However the idea of colour coding infants dates back to the 19th century. According to La cour de Hollande sous le règne de Louis Bonaparte in 1808 in Holland pink was used to announce the birth of a girl and blue a boy. In March 1856 Peterson's Magazine (Philadelphia, USA) advises that the ribbon on a christening cap should be blue for a boy and pink for a girl. On the 23rd of July 1893 the New York Times writes that for baby clothes it's "pink for a boy and blue for a girl!"

[The Oddie Children, oil on canvas, c. 1789, by William Beechey, via North Carolina Museum of Art.]

During the latter half of the 18th century one of the most popular outfits for young children, regardless of gender, was a white dress with a coloured sash tied around the waist. Pink and blue being the most popular colours, although other colours were worn as well. It would be tempting to assume that the colour of the sash indicated gender but there isn't clear evidence that this was the case. The Oddie Children (above) depicts Sarah, Henry, Catherine, and Jane Oddie. The three girls are all wearing white dresses; two with a blue sash one with a pink sash. We also see Henry Russell (bellow left) wearing a blue sash and Prince William (bellow right) wearing a pink sash.

[Left: Anne Barbara Russell née Whitworth with her son Sir Henry Russell, oil on canvas, c. 1786, by George Romney, via Woolley & Wallis.

Right: Prince William, oil on canvas, c. 1767, by Allan Ramsay, via the Royal Collection Trust.]

Pink was just one of the many colours popular in 18th century English womenswear and seems to have stayed popular throughout the century. On the 3rd of January 1712 The Spectator published an article in which a man recalls seeing "a little Cluster of Women sitting together in the prettiest coloured Hoods that I ever saw. One of them was Blew, another Yellow, and another Philomot; the fourth was of a Pink Colour, and the fifth of a pale Green". On the 1st of May 1736 the Read's Weekly Journal, or British Gazetteer reports that the ladies attending the royal wedding wore gowns of "Gold stuffs, or rich Silks with Gold or Silver Flowers, or Pink or White Silks, with either Gold or Silver Netts or Trimmings;" shoes either "Pink, White or Green Silk, with Gold or Silver Lace and braid all over." On the 24th of May 1785 Charles Storer writes to Abigail Adams advising that fashionable colours in English court dress are "pink, lilac, and blue" such "as is worn at Versailles".

[Left: Frances, Daughter of Evelyn Pierpont, 1st Duke of Kingston, oil on canvas, c. 1700-23, by Godfrey Kneller, via Art UK.

Middle: Mrs. Abington as Miss Prue in "Love for Love" by William Congreve, oil on canvas, c. 1771, by Sir Joshua Reynolds, via Yale Center for British Art.

Right: Mary Little, later Lady Carr, oil on canvas, c. 1765, by Thomas Gainsborough, via Yale Center for British Art.]

In particular pink was popular amongst young women as the colour was associated with youth. Older women who wore pink were mocked as vain for dressing in a way that was seen as improper for their age. On the 31st of January 1754 Lady Jane Coke writes to Mrs. Eyre criticising old women who wear pink:

As for fashions in dress, which you sometimes inquire after, they are too various to describe. One thing is new, which is, there is not such a thing as a decent old woman left, everybody curls their hair, shews their neck, and wears pink, but your humble servant. People who have covered their heads for forty years now leave off their caps and think it becomes them, in short we try to out-do our patterns, the French, in every ridiculous vanity.

[Folly Embellishing Old Age With the Adornments of Youth, oil on canvas, c. 1743, by Charles-Antoine Coypel, via Master Art.]

For Englishmen acceptable clothing way much more limited. In A Foreign View of England in the Reigns of George I & George II Monsieur César de Saussure writes that Englishmen "do not trouble themselves about dress, but leave that to their womenfolk". He explains:

Englishmen are usually very plainly dressed, they scarcely ever wear gold on their clothes; they wear little coats called "frocks," without facings and without pleats, with a short cape above. Almost all wear small, round wigs, plain hats, and carry canes in their hands, but no swords. Their cloth and linen are of the best and finest. You will see rich merchants and gentlemen thus dressed, and sometimes even noblemen of high rank, especially in the morning, walking through the filthy and muddy streets.

César de Saussure warns that "a well-dressed person in the streets, especially if he is wearing a braided coat, a plume in his hat, or his hair tied in a bow, he will, without doubt, be called "French dog" twenty times perhaps before he reaches his destination" and is not only at risk of "being jeered at" but also "being bespattered with mud, but as likely as not dead dogs and cats will be thrown at him."

[Reverend Charles Everard Booth, Captain Griffith Booth, and an Unidentified Man playing Billiards, oil on canvas, c. 1775-9, by John Hamilton Mortimer, via the Royal Collection Trust.]

For Englishmen dressing "plainly" mostly meant wearing blacks and browns. In his book on macaroni, Pretty Gentleman, Peter McNeil found that in contrast most English menswear that he describes as generally consisting of "monochrome broadcloth" macaroni wore a variety of colours including green, orange, yellow, violet, red, white, blue, gold, silver and of course pink.

But it's not just the macaroni of the 1770s & 1780s that wore pink. We see pink in descriptions of feminine men's dress (both real and fictional) throughout the 18th century.

On the 2nd of June 1722 Sarah Osborn writes to Robert Byng:

I believe the gentlemen will wear petticoats very soon, for many of their coats were like our mantuas. Lord Essex had a silver tissue coat, and pink color lutestring waistcoat, and several had pink color and pale blue paduasoy coats, which looked prodigiously effeminate.

On the 18th of October 1729 the Universal Spectator and Weekly Journal published a story where an "effeminate" man's clothes were described as follows:

He had a flower'd pink-colour Silk Coat, with a Green-Sattin Waistcoat lac'd with Silver. Velvet Breeches, Clock'd Stockings the Colour of his Coat, Red-heel'd Pumps, a Blue Ribbon at the Collar of his Shirt, and his Sword-Hilt he embrac'd under the Elbow of his Left Arm,

[Sir Miles Stapylton, 4th Bt of Myton, oil on canvas, c. 1730-35, via Art UK.]

In The Adventures of Roderick Random (1748) the effeminate (and queer coded) Captain Whiffle is described as follows:

our new commander came on board in a ten-oared barge, overshadowed with a vast umbrella, and appeared in everything the reverse of Oakum, being a tall, thin young man, dressed in this manner: a white hat, garnished with a red feather, adorned his head, from whence his hair flowed upon his shoulders, in ringlets tied behind with a ribbon. His coat, consisting of pink-coloured silk, lined with white, by the elegance of the cut retired backward, as it were, to discover a white satin waistcoat embroidered with gold, unbuttoned at the upper part to display a brooch set with garnets, that glittered in the breast of his shirt, which was of the finest cambric, edged with right Mechlin: the knees of his crimson velvet breeches scarce descended so low as to meet his silk stockings, which rose without spot or wrinkle on his meagre legs, from shoes of blue Meroquin, studded with diamond buckles that flamed forth rivals to the sun! A steel-hilted sword, inlaid with gold, and decked with a knot of ribbon which fell down in a rich tassel, equipped his side; and an amber-headed cane hung dangling from his wrist. But the most remarkable parts of his furniture were, a mask on his face, and white gloves on his hands, which did not seem to be put on with an intention to be pulled off occasionally, but were fixed with a curious ring on the little finger of each hand.

[Henry Ingram, 7th Viscount Irwin and His Wife Anne, oil on canvas, c. 1745, by Philippe Mercier, via Art UK.]

On the 28th of July 1780 the London Courant reports:

A few days ago, a Macaroni made his appearance in the Assembly-room at Whitehaven, in the Following dress: a mixed silk coat, pink sattin waistcoat and breeches, covered with an elegant silver nett, white silk stockings with pink clocks, pink sattin shoes and large pearl buckles, a mushroom coloured stock, covered with a fine point lace; his hair dressed remarkably high, and stuck full of pearl pins.

On the 6th of August 1792 The Weekly Entertainer published Sketches and Portraits form the Life by Simon Tueopnrastus which included the following description:

Mercator was a youth of some genius and expectation, but by a strange perverseness of disposition, notwithstanding the extreme natural stiffness of his limbs, he had acquired an early attachment to the most finical and effeminate finery; so that, while yet a boy, he would exhaust every expedient of a fertile invention to procure a laced waistcoat, or the most foppish toy; would dangle a watch-string, with brass seals, from each fob, at a time when the frugal care of his parents would not permit him to wear a watch in either; and would strut in a fine pair of second-hand pink silk breeches, and a light blue coat, with all the formal dignity of—a soldier upon the parade.

[Left: Thomas King in "The Clandestine Marriage", oil on canvas, c. 1792, by Samuel De Wilde, via Yale Center for British Art.

Right: Edward Payne, oil on canvas, by Arthur Devis, via Art UK.]

While pink is mentioned in these descriptions of feminine men's dress it's not singled out as the girl colour the way pink would become in the 20th century. I would argue pink is seen as effeminate not because pink is a uniquely feminine colour but because it was used in fashionable dress. In 18th century England being interested in fashion was seen as an frivolous female trait. Men who showed too much interest in fashion were mocked and ridiculed for their gender nonconformity. "A Man must sink below the Dignity of his Nature, before he can suffer his Thoughts to be taken up on so trivial an Affair, as the Chosing, Suiting, and Adjusting the Adornments of his Person," complains a letter published on the 8th of May 1731 in Read's Weekly Journal, or British Gazetteer:

Decency of Garb ought inviolably to be preserved; nor can there be possibly an Excuse for Dressing like a Merry-Andrew: Rich and coloured Silks are in themselves effeminate, and unbecoming a Man; as are, in short, all Things that discover Dress to have been his Study 'Tis in vain for a Fop of Quality, to think his Title will protect him.

[Left: Madame de Pompadour (detail), oil on canvas, c. 1756, by François Boucher, via Alte Pinakothek.

Right: Elizabeth Wrottesley, later Duchess of Grafton, oil on canvas, c. 1764-5, by Thomas Gainsborough, via National Gallery of Victoria.]

English fashion was highly influenced by French fashion. A popular colour scheme in French fashion was green and pink. A famous example of this colour pairing can be seen in François Boucher's portrait of Madame de Pompadour (above left), she is depicted in a green gown with pink bows and flowers. You can see and example of how this style inspired English fashion in Thomas Gainsborough's portrait of Elizabeth Wrottesley (above right), who is depicted in a green gown with a floral pattern adorned with pink, white and green striped bows.

[Left: Sir Harry Fetherstonhaugh, oil on canvas, c. 1776, by Pompeo Batoni, via Wikimedia.

Right: Francis Lind, oil on canvas, c. 1775, by George Romney, via Mackinnon Fine Art.]

Fashionable Englishmen were also inspired by these French designs. Horace Walpole refers to the popularity of the colour combination writing to Lady Ossory on the 19th of February 1774 "If I went to Almack's and decked out my wrinkles in pink and green like Lord Harrington, I might still be in vogue". Almack's is referring to Almack's Assembly Rooms on Pall Mall which is believed to be the inspiration for the Macaroni Club. (see Pretty Gentleman by Petter McNeil p52-55) In a letter to Lord Harcourt on the 27th of July 1773 Walpole writes of "Macaronis lolling out of windows at Almack's like carpets to be dusted."

[Left: Detail of Stephen Fox from The Hervey Conversation Piece, oil on canvas, c. 1738-40, by William Hogarth, via Fairfax House.

Middle: Sir William Jones, oil on canvas, c. 1769, by Francis Cotes, via Art UK.

Right: Portrait of a Gentleman, oil on canvas, by George Romney.]

Men who wore green seem to have been just as much, if not more, at risk of being ridiculed, or even assaulted, for the colour of their clothes as those who wore pink. In Pierre Jean Grosley's A Tour to London (originally published 1772) he recalls traveling with a young English surgeon who was harassed by Londoners due to his green French frock coat:

At the first visit which he paid me in London, he informed me, that, a few days after his arrival, happening to take a walk thro' the fields on the Surry side of the Thames, dressed in a little green frock, which he had brought from Paris, he was attacked by three of those gentlemen of the mobility, who, taking him for a Frenchman, not only abused him with the foulest language, but gave him two or three slaps on the face: "Luckily, added he in French, I did not return their ill language; for, if I had, they would certainly have thrown me into the Thames, as they assured me they would, as soon as they perceived I was an Englishman, if I ever happened to come in their way again, in my Paris dress."

#fashion history #god I spent so long sifting through primary sources for mentions of pink

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undergroundbillions · 5 months

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Raggedy Ann art style masterpost!

Sorry this is a long one, but I need to make examples! After over a hundred years, how Raggedy Ann is drawn in books and merchandise has changed a LOT, and I'm obsessed with identifying different eras of the art styles and how they're combined. These aren't all of them of course but here's a few major ones.

First off, the original Johnny Gruelle & Co. style. These are the books from her first appearance in 1918 to the late 40's, when she was now being drawn by Gruelle's family. Early on they look more like literal dolls, but as the years go on they look more lively and round.

We get different illustrators throughout the 40's to the 60's, but the little physical merchandise outside of the books continues to lean toward the Gruelle style.

In the 70's, Hallmark owns the licensing, and as expected they go ALL out on merch. This era is defined by childish proportions with large heads, big eyes, and a checkered-shirt Andy.

In 1977 we get the Raggedy Ann and Andy Musical Adventure movie! Here's the most commonly used promotional art:

But this barely gets a chance to exist on its own, because in next two years both Chuck Jones holiday specials are released. As a result, there's a whole lot of promotional stuff that combines these two styles in a very strange way. Often, Ann and Andy (and Arthur) are in the Chuck Jones style, with the title and Camel from the movie. Sometimes side characters from both pieces of media make it in!

In the late 80's, the CBS Adventures of Raggedy Ann and Andy show along with the corresponding Grow and Learn series of books are released, with a new art style:

It's similar to the 1977 movie again, but as if they re-designed it from that above promotional shot alone. They're very much stuck in the one shape, instead of squishing and stretching like rag dolls as they do in the movie.

In the 90's you have the Snowden Target collab, which is pretty easy to spot since it's the most blatantly red & green christmassy thing you've ever seen.

Aaaaand last (and maybe least) we have Simon & Schuster's Classic branding in the 2000's. These are recognizable by solid black eyes with no whites, having the exact same expression in every picture, and visible stitches.

I will release you from this Raggedy Ann prison now. Go forth and be free with your new unnecessary Raggedy Ann knowledge.

-𝕸𝖔𝖉 𝕲𝖊𝖓𝖊𝖗𝖆𝖑 𝕯.

#raggedy ann #raggedy andy #mod general d #raggedy ann wiki #raggedy ann and andy

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apeekintothepantry · 2 months

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Meet Violet Fielding, my original historical character from 1918 Boston!

I've been doing some workshopping with my custom historical characters because I've been a little bored with AG's historical offerings of late, and because it's a fun excuse to dig into moments in time that interest me personally, but AG probably wouldn't produce a similar character themselves. (I say that, but my 1940's Hawaii character predates Nanea, so who knows! Maybe I'm manifesting some future stuff I can borrow for my gals.)

Violet is the youngest of three siblings. Her older sister Alice is in her early 20's and either a nurse or a Hello Girl, leaning towards nursing because I'm not sure I want her to go overseas and she could work at a hospital in Boston during the war. Her older brother James is 19 and enlists in the Marines once the US enters World War I. I think by Violet Saves the Day, he's returned home dealing with quite a bit of "shellshock" and that becomes a somewhat major theme.

Her parents are pretty wealthy, and the family lives in a brownstone on Beacon Hill in Boston. Her dad is a doctor and mom is a suffragist who also gets involved in causes supporting the war effort. Both parents are very supportive of their kids following their passions and getting themselves out there in this still relatively new century, which is why Alice has been allowed to go to school instead of immediately marrying some wealthy guy.

Vi herself is a precocious and creative kid. I think she likes to draw and paint and generally be crafty and creative, which comes in handy when brainstorming ways she can support her brother overseas and the war effort more broadly. While she's not afraid to get her hands dirty, she does like typically girly things like having teatime and looking at catalogs filled with new dresses. Her book series would theoretically cover 1917 through 1919 or so, and touch on the war, Women's Suffrage, the Spanish Flu, shellshock, and possibly the Boston Molasses Disaster.

Currently I'm trying to come up with a best friend character for her, as she really needs a Nellie or Ruthie in her life with the age difference and both siblings being off doing exciting and scary things without her. There are a lot of different directions I could go in with said friend - fellow wealthy-ish kid feels boring, Boston had a lot of new immigrant communities in the 1910's, some of whom did live in a specific part of Beacon Hill, Boston historically struggles with insidious covert racism but was still a city with a number of prominent Black and Jewish communities - and nothing's quite clicked as perfect just yet.

Violet is a Marie-Grace doll with a Nanea wig. Someone was selling her on a Facebook group a few years ago and I immediately felt like she was a Violet and needed to join my crew. Her last name was inspired by Lady Dorothie Fielding, a British woman who drove an ambulance during WWI and received several awards for bravery and service. Fielding's letters home were published after her death and are a really fascinating look at what it was like on the front lines doing this incredibly dangerous and important work. I used it as a major primary source for an educational interactive I helped develop in one of my previous jobs.

#american girl doll #american girl #american girl dolls #agblr #ag doll #ag dolls #american girl oc #violet fielding

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ayeforscotland · 5 months

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My great-great uncle was Sgt. Henry N. Gunther, who died at 10:59 AM on 11 November 1918, the last American soldier to die in combat in the Great War. I can't claim to know his thoughts or feelings, but I am fairly sure he would be at least a BIT insulted by that gin advertisement, given how I almost went apoplectic just now when I saw it on your blog. There may be something to be said after all for how Americans tend to ignore WWI remembrances, if this is how other countries do it. Oh, man, I am so mad right now.

That’s a tragic, but also super interesting piece of family history.

The sad thing is is that there’s definitely a market for stuff like that. Supermarkets arranging pepperoni and olives on pizza to look like poppies, remembrance gin, and what often feels like an arm race to win the most extravagant poppy display competition.

There’s a real purpose to remembering those who sat cold and terrified in a trench before being sent to their deaths, how meaningless war is and how we should be doing everything to prevent it.

I feel actually remembering them and understand why they died have fallen down the list of priorities because there’s so much posturing over Remembrance Day.

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macgyvermedical · 22 days

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Hey babe, wanna hear something hot? *whispers* history of metformin

Ok okay I'll talk

So metformin is commonly thought of as the most boring of diabetes drugs. Like, everyone who has ever thought about maybe having type 2 diabetes is taking it unless it gives them diarrhea, and even then their doctor still probably wants them to take it. But it's a first line because it's old, it's cheap, it doesn't often cause hypoglycemia, and it has relatively few side effects compared to other diabetes drugs. Also, like a lot of older drugs, it does way more than it says on the packaging. And a lot of stuff we're still learning about.

In order to talk about metformin, we have to talk about a plant called goat's rue. Goat's rue is a plant native to Europe, Africa, and Asia, and currently grows just about everywhere. In ancient times it was used as an anti-parasitic, a plague remedy, and to relieve the excessive urination caused by what might have been diabetes. In 1918 it was found to contain a chemical called galegine, which did lower blood sugar. Galegine as an anti-diabetes medication is probably too toxic to use long term. However, with a few chemical tweaks, it could become a drug that lowered blood sugar without the toxic effects. Metformin was born.

Metformin came out in 1923 and is a type of drug called a biguanide. it's actually the only type in it's class still available as an anti-diabetic agent, because the other drugs in it's class that came out in the 1920s and 30s caused lactic acidosis and liver problems (similar to the types of reactions seen with galegine), and were taken off the market.

Metformin (and pretty much all oral antidiabetic agents in development at this time) didn't do well initially, probably because they came out the same decade as insulin, and insulin was a lot more effective at treating any kind of diabetes.

It fell out of use extremely quickly, and didn't get picked up again until the 1940s, when US access to antimalarial drugs was cut off, just as a war in the pacific was ramping up. Metformin was evaluated as an antimalarial during WWII, and while noted to have some anti-malarial properties (particularly as a malaria preventative) it also was noted to significantly lower blood sugar in diabetic patients- while not lowering blood sugar very much at all in non-diabetic patients.

This effect, rather than it's antimalarial properties, was what got scientists really interested. Unfortunately, it would not be until 1957 in France that metformin had its first major studies to determine that it did, indeed, work against diabetes. Metformin lost the race to the "first" (successful) oral antidiabetic agent by a year, to a different drug that was found while looking for a new antibiotic- Diabenese.

Metformin became a commercial success in France, while Diabenese became successful in the United States. Metformin would actually not be approved for use in the US until 1995.

But now we get to talk about what metformin does and why it's so freaking cool.

Type 2 Diabetes- lowers A1C (a measure of blood sugar control) by 1-2 full points

Prevents/reverses weight gain due to antipsychotics

Prevents and treats malaria

Makes the flu shot work better

Decreases severity of respiratory illness and complications related to the flu

Changes gut microbiome for the better

Regulates periods and reduces other symptoms in people with PCOS

Lowers risk of breast, colon, and prostate cancer

Lowers risk of dementia

Lowers risk of stroke

May increase lifespan

#whump reference #writing reference #diabetes #metformin #chronic illness

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bear-boi-5 · 3 months

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Felt silly

Silly AU I just created for fun. It's basically where they used to be in a cancelled cartoon back in the 20s that was created by a now debunked animation company. The series was lost media but some people recovered it and since it was public domain, they transferred these characters into a video game which is a mix of an art game, RPG and collectathon

Don't expect much from this. I might make stuff for it here and there but it was really just created out of boredom. And because of Sm-Baby (creator of the Carnival AU)

If this is received well, I might do some more stuff on it. Also there's references to Cuphead and Bendy in there plus a classic animated character from 1928 (technically 1918) who's associated with Betty Boop

#au #art #the amazing digital circus #tdac #tdac fanart #tdac au #tadc caine #tadc pomni #tadc jax #tadc ragatha #tadc gangle #tadc kaufmo #tadc kinger #tadc zooble #The Spectacular Digital Studio #TSDS

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jessicanjpa · 6 months

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10, 36, 51 for Edward in sensory headcanon? :)

(from the Sensory Headcanons ask game)

10. Something about their physical appearance they're embarrassed about

answered here

36. What was their comfort object or favorite toy in childhood?

Little Edward really loved his toy soldiers (they get lots of page time in the 1918 prologue here). I've never thought much about Edward as a baby, but I imagine he had one favorite soft animal toy and never showed much interest in his other toys. He could only fall asleep with... oh who am I kidding? It was a stupid lamb. He loved this poor little lamb until it was threadbare and refused to let Mother replace it even when it couldn't be restitched or restuffed or patched anymore. Maybe the stinky, bedraggled lamb is still in a storage trunk somewhere in an attic in Chicago...?

51. Which app on their phone do they spend the most time on?

One of Edward's all-time favorite apps is his tuner. He usually keeps it set to guitar mode, but he uses it for all kinds of things. There really isn't any practical reason to know the pitch of That Weird Sound the Downstairs Shower Makes, but why not find out?

And I don't know if there's an app for this per se, but Edward is always fact-checking things. News headlines, viral posts on social media, random things he hears in people's heads... But of course his favorite use for these apps/websites is to correct Rosalie within 15 seconds of her saying something about current events, science, geography, etc. Sometimes it's just good old-fashioned mansplaining, sometimes it's more of a royal scoff. "Imagine thinking _____" is his new favorite way to start a sentence under his breath.

#inbox #Edward #stuffed animal #toy soldiers #childhood #app #phone #Edward vs. Rosalie #headcanon #1918 stuff

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moodymisty · 6 months

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death and reader but death is in his reaper form? Just some fluffy protective stuff. Love your work! :)

[ 𝕸𝖔𝖔𝖉𝖞𝕸𝖎𝖘𝖙𝖞'𝖘 𝕸𝖆𝖘𝖙𝖊𝖗𝖑𝖎𝖘𝖙 | 𝕬𝖔3 ]

Author's Note: By the gods this request made me borderline feral. I LOVE big monsters having soft spots for their little humans. Also Death's reaper form is super... cool looking. ( ͡° ͜ʖ ͡°)

Summary: When Death reverts to his Reaper form when something goes to attack you, you then realize that you're stuck with this form until he manages to calm down.

Relationships: Death/Gn!Reader

Warnings: Canon typical violence, Monster/human fluff, Time to nuzzle the Reaper

Word Count: 1918

Death looks over at you; The pale, sickly green glow of the various torches illuminating your skin, and sighs.

He regrets bringing you here, with every fiber of his being. The Realm of the Dead isn't for humans, it isn't for anything alive. Hell, even he isn't technically supposed to be here. He just holds the door, throws souls through. Figuratively speaking.

But humans and their ever all-encompassing curiosity will always seem to work against their better judgement. Your, better judgement.

Death looks back over, and notices you now staring at an old pot.

A burial urn, most likely. Why you find it so fascinating he could never guess. When you bend over to pick up a gold coin off the ground just in front of it is when he decides to interject- and stop you before you can pop the lid on some angry spirit and make this realm just a bit worse off.

"I never took you for a thief,"

He says, coming closer and grasping your wrist gently. The coin stays between your fingers as you look up at him.

"I wasn't taking it, I just wanted to see what was on it." Death squeezes your wrist in a way that forces you to relinquish the coin, and it drops into his other palm. He lets it fall to the floor and it bounces three times, each with a quieter tink.

"To these souls, that is stealing. Now quit touching every single thing in sight. We have a tomb to find." Hand dropping from your wrist, Death turns from you and begins walking away, having stopped you from whatever potentially dangerous thing you'd been fiddling with.

He still regrets taking you here even as you grasp his fingers, so you can attempt to keep up; Or slow his gait down.

But Death admits within his own mind, he doesn't dislike the company. Dust and Despair don't exactly provide the most interesting commentary, and your positive attitude is not unpleasant change to the dread and nihilism he's used to facing throughout the realms. He wouldn't be so apposed to you joining him, if this place wasn't constantly seeking to rend your soul from your body at every possible moment.

"For someone who's all 'I don't care what anyone thinks',"

You make a mocking tone of his voice when you refer to him, and Death glances down at you from the corner of his eye with a fair amount of disapproval. "You sure do love being all rules when I'm around."

Death does it to keep you safe, though he always finds his tongue tied whenever he tries to say that out loud. The only time he has, it came out as him being annoyed you always get into trouble, and he'd hated the way it made your face fall slightly. He'd spend the next while being softer to you just to make up for that slip up.

You let go of his hand, speeding up your pace just slightly in order to take a look around before the Horsemen has a chance to stop you from doing so.

"Back here."

You're not far away from him at all, maybe ten paces or so, looking over your shoulder. Your hand brushes against the wall as you curiously look at something you have no idea what to call.

"I'm barely away from you. Can I not look at anything?"

Humans and their encompassing curiosity, and their stubbornness.

You step closer to look at whatever has caught your interest, before you suddenly hear something.

Death reacts to it faster than you possibly can, instantly pulling Harvester off his back and forming it into it's long, single bladed form, and rushing towards you. You don't quite register what's happening as it passes by so quick, but you still step back to as he nearly slams right into you.

Once his body is blocking yours and whatever is coming has been cut off from making it's presumed way towards you, he moves forward to try and run his scythe right through it.

When you catch sight of it from around Death's arm, it's easy to see that it's a Lich, as he'd once called them. You scramble backwards out of the fray, wisely staying close to Death, but not enough so that you'll get hit by the back swing of a weapon. You know Death himself would never slip up that way, but you doubt the undead resident has the same overall care about your well-being. If anything, it seems to want to kill you outright, if the way it tries to swerve around Death towards you is any indication.

But the Reaper continues fighting with the Lich, slicing his blade through it's ghostly mockery of flesh. He makes sure to keep himself firmly inbetween you and it, knocking it onto the floor and sending the end of his scythe directly through it's chest. It lets out a ghasty wail as it struggles and grips the weapon to free itself from Death's pin, and you scurry backwards as it attempts to move again.

Perhaps you stirred something in your retreat, or maybe it was there the entire time and only now had decided to strike, but in his tunnel focus on the main threat Death hadn't noticed in his tunnel focus that there was a second and Lich, coming from behind you just as you hear Harvester get torn from the first Lich's chest and it's wail sharply ends as it's finally destroyed.

You yell for him when you turn around and see it, tripping over your own feet as the Lich comes right for you; Since Death had taken his brother's pistol back awhile ago, you have not a thing to defend yourself from it.

An arm instinctively raises up to protect yourself, but instead of getting hit, you see the glint of a massive reaper's scythe split the massive lich in twain. It lasts nowhere near as long as the previous one, and is torn asunder in moments. It barely had time to react, let alone try and attack you.

However, it feels that Harvester- or maybe the hands holding it- seem different than usual.

Following the trail up the pole you reach Death holding it; Or more accurately, The Reaper.

He yanks the curved blade of the scythe out from the creature's chest cavity, letting flop to the ground without so much as a whimper. It fades to dust with little fanfare shortly after. The blade however is still clean, not coated with blood like whenever he's fighting demons or angels.

You glance upwards towards his face, seeing the hood obscuring it all under a haze of void black. You can just barely see the outline of his face with what little hazy green torchlight is around.

It seems in his sudden fury over your being almost harmed or at worst killed he'd toppled over the edge, shedding the form you're most used to and becoming, this.

His head jerks around in fast, rapid motions, looking around for any other threats; As Harvester remains firmly lodged in his grip. You look around as well and when you don't spot a thing, you turn your focus to the Reaper.

"Hey... Death,"

This form seems to not have any sort of real mouth to speak with, the pallid skull lacking the ability to do so. He still looks at you with interest, watching as you speak with an almost uncomfortable amount of intensity.

"I'm fine, and there's nothing else to kill, so there isn't anything to worry about now."

You hesitantly reach for one of his hands, his fingers long and thin wrapped around the scythe's pole. The Reaper doesn't stop you, and you hear the shifting of fabric and clinking of metal as he watches you. But before you can touch his hand he moves to hoist Harvester onto his back, freeing them.

Those long, talon-like fingers reach for you and it takes a good bit of effort not to flinch away, and they brush over your body and even your hair; Slowly, and soft as if enjoying the sensation. Every time you think he's going to stop and pull away, he only shifts and continues to do what you only describe as petting. You can't think of a word that fits better, but also doesn't sound as demeaning.

It's odd, however. You never would've thought this version of Death would be so, touchy feely.

As if you weren't already confused enough, you hear an odd rattling noise come from him as you watch. If you had to describe it, you would use words like pleased rumble, or perhaps even purr.

He gets closer to you while he does it, the frayed edges of his long robe brushing against your skin and clothes. Both of his bony hands cup your jaw at one point, a bit rough but clearly trying to be gentle- and you look up at him in awe of the tenderness this creature, this other part of his soul, is showing you.

This is only the second time you've seen his Reaper form; The first had been when you were safely far out of the way of any conflict. He had regressed back to normal quickly denying you more than a few short glimpses, wherein now he seems quite firmly stuck.

You know that it's Death in there, so any fear you have stays firmly lodged in your throat before you swallow it down.

"You, did a good job back there. But I think the more talkative Death might want to come back now."

More talkative might be a bit of a hopeful statement. It is Death you are talking about.

The Reaper lets out an odd noise and one of his thumbs brushes over your lip, pulling it slightly wonky. You don't know if it's the sound of his breathing or bones beneath his cloak shifting, as you hear a soft rattling sound as he watches you.

You know this being is dangerous, but knowing that it's simply another part of Death manages to quell some of the fear in you.

When you move to take a step backwards the Reaper's grip quickly tightens and he makes a noise, covering any minute amount of space you might've moved. Then even more, and you can't help but gasp as his hooded face quickly dives in-

And begins nuzzling the side of your face.

Your hands grip handfuls of his tattered cloak, squeaking at the cold feeling of his bone and hood against your cheek.

Is this even really Death? The amount of outward affection in this motion alone makes you wonder. Perhaps him being in this form makes him more unabashed, almost more primal in some sort of way. It's not as if you're going to complain, hearing that odd purr-like noise rumble against your skin.

"Alright, since it doesn't seem like normal Death is gonna be back for a bit, can I at least sit down?"

The Reaper makes a noise almost like a hum, which you can neither discern if it's positive or negative. Either way, when you actually move to attempt to sit, the Reaper tightens his grip again. So you aren't going anywhere it seems, and must accept your fate as The Reaper's newfound comfort plushie as you lean your head back against his own pale skull.

Death will certainly love to hear about this when he's back to normal, for sure.

#darksiders x reader #darksiders death x reader #darksiders death x you #Darksiders/Reader #Darksiders Death/Reader #reader insert #reader #mywriting

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comtessezouboff · 10 months

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The Wertheimer Portraits

A retexture by La Comtesse Zouboff — Original Mesh by @thejim07

The Wertheimer portraits are a series of twelve portrait paintings made by John Singer Sargent of and for the British art dealer Asher Wertheimer and his family. The series amounts to Sargent's largest private commission.

The family became close friends of the artist John Singer Sargent. He often dined at their home at 8 Connaught Place, where the dining room (sometimes described as "Sargent's mess" ) was decorated with eight of the family portraits. Mr and Mrs Wertheimer commissioned Singer Sargent to paint two portraits to celebrate their 25th wedding anniversary in 1898, and ten more commissions followed in the next decade. Most of the portraits hang in the Tate Museum in London, after Wertheimer's death in 1918. The donation was an scandal, as some antisemitic comments emerged, such as that of the historian Sir Charles Oman: "these clever, but extremely repulsive, pictures should be placed in a special chamber of horrors".

The bequest and wish for the portraits to be displayed together was seen as a distasteful display of wealth with opponents claiming it was Jewish excess and asking “Is there any other gallery that has been given so many paintings?

Since the paintings would hang among royalty, clergy and historical figures, to have a room dedicated to one family deemed outside the British establishment was so controversial that it was debated in Parliament.

Nowadays, the portraits are regarded as masterpieces, and most of the antisemitic comments remained in the past, but some critics have thought that the paintings "exudes caricature-like features and projected racial stereotypes onto the sitters" although the family was perfectly happy with them (of course this wouldn't have been issue if the family belonged to catholicism or other western-predominant religion)

This set contains 12 portraits, with the original frame swatches, fully recolourable. They are of:

Elizabeth "Betty" Wertheimer, Mrs. Euston Abraham Salaman (oval shape)

Flora Wertheimer (née Joseph) Mrs. Asher Wertheimer

Helena "Ena" Wertheimer, Mrs. Robert Moritz Mathias, "A Vele Gonfle"

Madame Asher Wertheimer (née Flora Joseph) (another portrait of Flora)

Miss Almina Wertheimer in Turquerie Costume.

Mr. Alfred Wertheimer

Edward Wertheimer (unfinished)

Asher Wertheimer with his Poodle, Noble.

Elizabeth "Betty" and Helena "Ena" Wertheimer.

Hylda, Conway and Almina Wertheimer.

Miss Hylda Wertheimer.

Ruby, Ferdinand and Essie Wertheimer.

Found under decor > paintings for:

500§ (1)

1.850§ (2-3-4-5-6-7-8)

3.040§ (9-10)

3.900§ (11)

6520§ (12)

Retextured from:

"Saint Mary Magdalene" (1) found here

"The virgin of the Rosary" (2-3-4-5-6-7-8) found here

"Portrait of Mariana of Austria in Prayer" (9-10) found here

"Portrait of Maria Theresa of Austria and her Son, le Grand Dauphin" (11) found here

"Vulcan's Forge" (12) found here

Thing to know before download: The pictures are not as dark as in this post, the lighting was awful in the screenshots.

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CC shown here:

Walls, floor and loveseat by @thejim07

Bust, urns, fireplace, clock, vases, candelabras, pendule à cercles tournants, door and screen by @joojconverts

Armchairs by ShinoKCR (tsr)

Rug by me, found here

Sideboard, chairs, sidetables and sofa by @martassimsbookcc

Commodes by Parsimonious Sims

Drive

(Sims3Pack | Package)

(Useful tags below)

@joojconverts @ts3history @ts3historicalccfinds @deniisu-sims @katsujiiccfinds @gifappels-stuff

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#the sims 3 #ts3 #s3cc #sims 3 #sims 3 cc #sims 3 download #portrait #sims 3 decor #edwardian #edwardian art #john singer sargent #wertheimer #wall decor

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plasticbag3207 · 19 days

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Alastor and Vox Possibly Knew Each Other in Life

I recently started writing/planning a fic centering around how Alastor and Vox met, and how their friendship turned sour into what their rivalry is today. I’m sure people have already written fics like this but I haven’t seen any (not that I’ve been looking) with this as the main plot and without heavy shipping.

Until literally this morning I wasn’t ever quite able to peg down Alastor and Vox’s ages. I assumed they were at least in their 30s, though it didn’t seem out of the question to say they were older or maybe even a little younger.

That is until I found the leaked character sheets of them. Apparently a year (or two?) ago someone leaked a lot of the character sheets/voice sheets for most of Hazbin Hotel’s cast. Obviously leaking is bad, don’t do it. I also don’t know if everything on those sheets is still canon, so I’m only going to talk about the ages. Also massive thank you to my friend for talking about this with me and helping me come up with stuff :)

(Theories, Headcanons, and Spoilers for the fic below the cut)

According to Alastor’s character sheet, he’s roughly in his 40s, and I’m going to say he was born in 1891. Assuming sinners don’t physically age at all after going to hell (because I’m 90% sure they don’t), that’d make him 42 at his death in 1933. Vox on the other hand, I’m saying was born in 1902, and died in 1955, making him 53 when he died. With these dates Vox and Alastor were only 11 years apart.

In my headcanons Alastor landed his job as a radio host in his mid 20s (1913), and built his way up to being the most popular radio host in New Orleans. By 1918 (27 years old) he had his own full show, which ran for 15 years until his death—and was wildly popular.

My headcanon for Vox on the other hand, is that he started as an actor. He always loved attention, and soon by his early 20s (1924) became a big hit on the silver screen. Very quickly he climbed to the top, becoming beloved by Hollywood and starring in many more movies over his lifespan.

I don’t think Alastor had such a massive disdain for television or visual media yet, though I’m not going to say he loved it. He saw Vox as some attention hound, constantly desperate for more with an insatiable appetite—not unlike himself.

Vox at some point stumbles apon Alastor’s radio show, and instantly loves the guy. He laughs at every joke, loves the creativity of the sound effects, and such. After some tugging of strings he meets Alastor in person and offers to interview him on one of his late night shows. Alastor reluctantly accepts, though the two can’t help but be put off—and even annoyed at times by each others’ presence.

The interview, to say the least, does not go very well. Alastor found it a bit humiliating, Vox being too caught up in the spotlight and not all that willing to share it with Alastor. After that, Al decided that “this face was made for radio” and radio only.

They potentially saw each other in passing, but beyond that their interactions were limited.

Eventually Al dies, and is outed as a serial killer. Vox becomes ever more popular with televisions becoming a household item of the 50s until he dies.

Yippie :)

I’m not 100% sure how much of this is canon compliant, but whatever it’s my fanfic I’ll do what I want with it. Also don’t worry I didn’t spoil the entire thing, just aspects of their human lives. Most of the fic will probably be in Hell. (When/if I post the fic on Ao3 I’ll link it here aswell)

EDIT: I started the fic, it’s a little rough but I’ll polish it up eventually. I also can’t promise I’ll stay 100% true to everything I talked about in this post but it’ll probably be pretty close. Anyways, I hope you enjoy :)

#plasticbag3207 #hazbin hotel #hazbin hotel headcanon #hazbin hotel theory #hazbin hotel vees #hazbin hotel vox #vivziepop #alastor the radio demon #hazbin alastor #hazbin hotel alastor #vox hazbin hotel #fanfic

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everythingisround · 1 year

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I think a lot of people who aren’t in the raggedy fandom or are just getting into the fandom may be a bit confused why so many of us headcanon Raggedy Andy as trans, so I decided to compile all the more heavily transcoded traits from across adaptations that fans use to justify their headcanons, plus some stuff I noticed on my own that I decided to add here.

Please note that I am in no way saying that trans/gnc headcanons NEED ‘evidence’ to be considered valid, or that Johnny Gruelle himself created Raggedy Andy with a trans man in mind. I just thought it would be helpful to have a little database of sorts for those who are first encountering this headcanon, and just in general to bounce ideas around that some may find representative of themselves and their experiences. Also, I’m trans, so I’m gonna make every male character in fiction trans too :p

I present to you… Trans Raggedy Andy™️

starting off with his design, andy has eyelashes, a trait commonly associated with female characters. note how other male dolls like clem, henny, and cleety the clown do not have this trait. (clem does have eyelashes in some illustrations, but their design is already EXTREMELY inconsistent lol)

andy’s hair in the early illustrations and dolls is very choppy and uneven, implying that he may have cut it himself. you could make the argument that ann or bessie (andy��s original owner) cut his hair for him, but let’s be honest, it probably would’ve looked a lot more neat and well layered than his current hairdo lmao

andy's arms are very large and disproportionate compared to ann's, which are very slim and feminine. perhaps andy stuffed them himself to give the illusion of muscles?

on the topic of andy's arms, in the books and some of the dolls and animated adaptations, his arm fabric is white, just like ann's. this isn't an issue at a glance; it was mostly likely an homage to ann and andy's design inspiration of scarecrows and clowns, which both typically wear gloves (moreso clowns with their signature white gloves). however, if we assume that raggedy ann stories takes place in 1918 (as that was the year it was published), and the beginning introduction states that ann is physically 59 years old, with andy being sewn a day or two afterwards according to raggedy andy stories, then both ann and andy were sewn in 1859. thing is, andy's outfit is sort of a mismash of contemporary fisherman/sailor attire, and fishermen/sailors didn't typically wear gloves back in those days, and even today. however, plenty of women, especially those of higher classes, wore gloves as a sign of neatness and status. granted, ann's attire seems to be more rural, but if, say, you were a working class woman in the mid 19th century, chances are you'd wear gloves at least some point. or maybe marcella's great-grandma/bessie's mom just used whatever scraps of fabric they had :shrug:

compared to ann's clothes, andy's clothes are a lot more modern (at least for the time period) and put together, with buttons and bowties galore. sure, bessie's mom could've just had those trinkets lying around, but considering the letter at the start of raggedy andy stories states that bessie and marcella's grandma lived next door with no fence, they were most likely lower class. personally, i like the idea of that ann made andy's current clothes herself :) maybe, with the civil war in america going on around the same time, ann might've based his clothes off of some of the sailors from that time...

in many of the adaptations, most notably the 1977 movie and the 1986 broadway musical, andy's arc usually revolves around him trying to prove himself, mostly by asserting himself to be as masculine as possible. one could argue that this is just a classic case of toxic masculinity, and while that could be a byproduct of his behavior, we do see him show sympathy and compassion for others, especially his sister. this indicates, to me at least, that andy's yearning to break away from others' expectations of him and be the strong, tough, and terrific boy he is is an internal conflict rather than an external one.

ill admit this is a bit more farfetched, but andy's voice does kinda sound like someone going through hrt, where the voice is in that awkward state of sounding more like a teenage boy as it slowly deepens with increased doses. (note that i havent gone on hrt yet; im mostly basing this off some of the things that my friend who has been through hrt has relayed onto me) if you listen to the 1977 movie, 1986 musical, and even the chuck jones specials, andy's voice definitely gives off that vibe (at least to me). then again, that may just be a result of the rag dolls being ageless, or the writers not knowing whether they wants the dolls to be minors or adults.

no girl's toy. yeah.

finally, ann and andy look basically identical, especially looking at them from the back view. heck, you can't even tell some of the dolls apart without their clothes on. this most likely indicates that bessie specifically wanted a doll that looked like marcella's grandma's, so that they could play with them as sisters and all that. it's also more common for kids with toys that share the same gender as them (though not all the time, of course), and boy dolls were almost always love interests for the girl dolls back then. even in the raggedy andy stories letter from earlier, johnny's mom (who, considering marcella was directly based off of johnny's own daughter, is most likely marcella's grandma in this context) even states that andy would sometimes be dressed in girl clothes when she and bessie wanted him to be ann's sister on that particular day. while that definitely makes me feel bad for andy if this is after his transition, marcella's grandma is also an old lady at this point, so it's very possible she could be misremembering, or perhaps she didn't want to confuse her son by saying her friend's girl doll magically turned into a boy doll one day. trans people were almost unheard of back then, after all, even though the concept of being trans has existed for thousands of years.

yup. that's the tea. this ended up being WAY longer than i originally intended, so i apologize for that... hopefully ive explained myself the best i could. tldr; raggedy andy has been trans since forever im sorry :(

#raggedy andy #trans raggedy andy #raggedy ann #raggedy ann and andy #trans #trans man #transgender #trans headcanon #trans hc

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