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#fifth harmony packs
faelayouts · 1 year
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⠀⠀⠀ ★ . . . lauren jauregui layouts!
⠀⠀⠀ like or reblog if you save! . . . ★
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tokyicons · 2 months
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normani icons
like/reblog if you use or save
follow @tokyicons for more
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sgftxtinajb · 1 year
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havanaicons · 1 year
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like or reblog if you save it.
twitter credits: @hav5na
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karlaicon · 2 years
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like or reblog.
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myoifvs · 2 years
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lauren jauregui icons, fav if u save pls
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dinahicon · 1 month
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I’m back bitches <3
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talkingwthemoon · 1 year
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Cuando Lauren Jauregui dijo:
"Nobody talks about walking away when there's still love"
Sis, I really feel that
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my-twitter-edits · 2 years
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make requests ♡
like if you saved this
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tylermileslockett · 9 months
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Hey everyone! This was a really fun commission image based on Plato's Spindle of Necessity done for the website https://synthemata.wordpress.com/
An illustration of the Spindle of Necessity image from Plato’s Republic; at the centre is a straight pillar-like light, compared to a brighter a purer rainbow, which extends through the heavens and the earth. It takes the souls a whole day to fly to it after perceiving it for the first time. At the middle of the pillar, the girdle of the heavens is fastened, and the entire vault of heaven revolves around it.  The Spindle of Necessity is at the heart of the cosmology and is said to be made from steel, with a shaft and a hook. Around it are eight whorls of decreasing size as they approach earth, which are perfect circles and represent the heavenly spheres.
The highest and largest whorl is the fixed stars. The second is Saturn, which is said to be yellow; the third is Venus, which has the whitest light; the fourth is Mars and is reddish; the fifth is Mercury, said to be yellow like Saturn; the sixth is Jupiter which is almost as white as Venus; the seventh is the sun, by far the brightest; and eighth is the moon, which shines with the reflected light of the sun. The spindle turns on the knees of the goddess Ananke, or Necessity. Each whorl has a siren on its upper surface who goes around with it and sings a single note. The three fates are also there, each siting on a throne, wearing white robes and chaplets, accompanying the harmony of the sirens. In the myth, Lachesis sings of the past, Clotho the present, Atropos the future. Clotho occasionally assists the rotation of the outer circles with her right hand, Atropos the inner with her left hand, and Lachesis touching either with alternating hands.
Do you like this art? would you like to own a book jam packed with over 130 full page illustrations like this? Then please support my kickstarter for my book "lockett Illustrated: Greek Gods and Heroes" coming in OCTOBER: https://kickstarter.com/projects/tylermileslockett/lockett-illustrated-greek-gods-and-heroes…
and my email newsletter: https://subscribepage.io/TylerMilesLockett…
🤟😁🏛❤️
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havanaicons · 1 year
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like or reblog if you save it.
twitter credits: @hav5na
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karlaicon · 2 years
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camila cabello icons. » like or reblog!
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myoifvs · 2 years
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lauren jauregui icons, fav if u save pls
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theboytatu · 6 months
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Girl we two comeback songs in and Riize just aint hitting like what is the issue? Ik they only got like 4 songs but all of them suck, this is probably the most creatively deficit sm’s been in a long time, wtf is that Jason derulo/fifth harmony mashup ass song????
for me the dated jason derulo sound is actually a nice place to be sonically in kpop in 2023 like i don't mind the concept and I think the sax riff is pretty good for what's probably a sample pack.. and the fact is that the boys know how to sing. there is potential there and there's some really nice harmonies in this song (and in memories too) but the whole execution falls flat on its face for some reason.
idk who is responsible for vocals with riize but they simply don't get put through the wringer to squeeze the vocals out of them in the studio like SM used to do with rookies anymore.... even aespa were singing their fucking heart out in black mamba and the vocals were stacked. even nct these days still have a bunch of adlibs and good layering in their songs
riize sounds so barebones in comparison. there's like three adlibs i can count and the layering is almost nonexistent. and that FUCK ASS chant in the middle of the chorus ruins the whole vibe. i'm so mad i might go back and edit the song to take out that fucking pre chorus
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dialux · 2 years
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Menielwa Lambamaica - Pale heavens, sharp-tongued
Women of the Elves, 4/?
[Written for @finweanladiesweek, Day 5 (Ladies who married in)]
...
Menielwa Lambamaica was the daughter of a renowned dancer. Though incredibly young and inexperienced, she apprenticed to Nessa herself; she was the same age as Fëanor had been when he apprenticed to Mahtan, and so drew the attention and acclaim of many elves and Ainu, among them the Noldo royal family. Menielwa’s first public dance was done in front of the Alqualondë court—the most accomplished of the cities in Aman in the arts—to a theater packed with all three royal families and countless Ainu.
In the aftermath of her successful debut, she was approached by Curufin, Fëanor’s fifth son, and gifted a rose made of living metal. It bloomed every day at twilight, with petals that gleamed like Treelight. Menielwa called it the finest gift she could have been given. Thus was the courting of Curufin and Menielwa begun.
While Curufin’s siblings had little care or taste for propriety, Curufin bowed to Menielwa’s wishes for a traditional courtship. They chose to not only follow the traditions of the Noldor, but in cleaving to them so closely set many new ones. Menielwa’s clothes, braids, and make-up was closely scrutinized and commented over by many citizens of Tirion; her wedding attire shifted the norm to include white, when ever before white had been reserved for mourning.
She wedded Curufin in the Tirion palace, and lived for some time in marital harmony alongside the rest of Curufin’s family. But when they had a son—named Curufinwë Tyelperinquar, the first and only grandson of Fëanor—Menielwa found herself searching for what she had gained in the years she had spent with Curufin: her preparations for her wedding had made her put aside her dancing, and the pregnancy soon after had not helped matters. She felt ungainly, hurt, and lost, and her son resembled his father; Menielwa could not see anything of herself in him, or in her house, or even in her marriage.
It was Ciryapandië, Maglor’s wife, that drew Menielwa out of her grief and horror, enough to understand what ailed her. Ciryapandie, Maglor, and Maedhros all worked together to buy a house in the middle of Tirion, a little distance from Fëanor’s own, that allowed Menielwa some privacy and distance from the overwhelming nature of the Fëanorions. This calmed Menielwa and restored some level of peace to her marriage with Curufin, though they never truly recovered from her inability to explain her suffering to him. Menielwa threw herself into writing once her son was old enough to be cared for by other members of her family, and found a passion for it that she had not had for even her dance, though she never showed another her writings.
When Fëanor’s distrust of the Valar went to new heights and he drew a sword on his half-brother, Fingolfin, Menielwa knew her husband would follow his father. But she had little desire to live in Formenos herself, and though she followed the rest of the women of the House of Finwë in avoiding them, she eventually reconciled with Curufin enough to convince him to send their son to her for half the year. They maintained this system until the Darkening of Valinor, when Curufin suddenly showed up to their home in Tirion and begged for her to join him and their son as they crossed the sea. Menielwa refused him then, heart hurting, and asked him if he would not let their son remain with her; he told her that Tyelperinquar was no longer a child, and had to make his own decisions. Tyelperinquar chose to leave with his father. Menielwa bid them leave and charged Curufin with her love, and they separated relatively peaceably.
Even after the First and Second Kinslaying, Menielwa did not relinquish her love for Curufin; she did not speak of him publicly or privately, but in her room she wrote reams and reams of pages describing her disbelief, agony, and rage—and her impossible quest to reconcile those emotions with her love. When Finarfin, the High King of the Noldor in Aman, approached her to ask her to become his High Scholar, Menielwa accepted, and published the manuscript she had spent two thousand years writing. It formed the cornerstone of a body of research that she would eventually use in the Second Age to argue for many of her family’s return to life before the courts of Finarfin, Ingwë, Olwë, and Manwë himself, a feat that earned her the title Lambamaica, or sharp-tongued.
As the High Scholar to King Finarfin, Menielwa used her position to work together with Anairë, Finarfin’s sister-in-law and her half-aunt by marriage, to integrate the Noldor that left Aman into Tirion, and to institute processes for people to return to life. Her research into the matter of elven death and returning revolutionized the elven ideas of reconciliation, rehabilitation, and recovery—it was responsible for the return of her son to life, and, eventually, her husband, and the rest of her kin.
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