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nerdygaymormon · 4 years

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My Queer Playlist

Whether they’re upbeat & joyful or they convey pain & sadness, songs are a way to bond with a lot of people over something as amazing as queerness. Music has a power & ability to cut through, communicate something, & bring people together. Music can make being queer not so isolating.

Everyone has their own list of songs, but here’s my queer playlist.

It includes songs by LGBTQ performers, gay anthems, songs that are about LGBTQ topics & people, and songs that speak to the queer experience (that you’re not alone, the search for self acceptance, things get better, you’ve got one life so make the most of it, and things like strength, perseverance, & love overcoming odds). And many of these are great songs for dancing, which makes sense as even today most of the specifically-queer spaces are bars and dance clubs.

You’ll notice that as the years go on, the number of songs starts increasing as it became safer to be out & queer topics became more accepted. You’ll also see a shift from borrowing the songs of female empowerment to having actual LGBTQ people singing about their lives and feelings.

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1939 - Over the Rainbow : Judy Garland - The dreams that you dare to dream really do come true. Rainbows and dreaming of a better world--absolutely speaks to queer desires. When it was dangerous to be open about being gay, the term “friend of Dorothy” was a way for a gay people to identify each other. “Oh, you don’t know Bob? He’s a friend of Dorothy.”

1957 - Jailhouse Rock : Elvis Presley - This is a song about male inmates in prison dancing together. And there’s even a gay crush! Inmate Number Forty-seven said to Number Three “You’re the cutest jailbird I ever did see. I sure would be delighted with your company. Come on and do the Jailhouse Rock with me.”

1963 – You Don’t Own Me : Lesley Gore – This song is all about letting me be who I am and love who I love, stop trying to make me be someone I’m not. Lesley didn’t come out at the time as the music industry was homophobic, she eventually came out as a lesbian in 2005.

1964 - Don’t Rain on my Parade : Barbra Streisand - We do like great big colorful parades, don’t we? This song is about how we’ve got one life so live it with gusto, do the things you most want to do. I’m holding my own parade and nobody is going to rain on it.

1966 - You Don’t Have to Say You Love Me : Dusty Springfield - Generations of closeted women & men could identify with the idea that queer love couldn’t last, it was too risky, so they’d take what they can. You don’t have to say you love me, just be close at hand. You don’t have to stay forever, I will understand. Dusty was a lesbian who didn’t talk about it much at the time in mainstream media for fear of losing her career.

1967 - Respect : Aretha Franklin - Aretha turned this song’s message of demanding respect for oneself into a universal declaration of pride and demand for equal treatment for blacks, for women, for LGBT people. She did things like perform at the Elton John AIDS benefit or a private wedding for a high-profile gay couple.

1969 - Make Your Own Kind of Music : Mama Cass - The message is take pride in your uniqueness and individualism.

1970 – Ain’t No Mountain High Enough : Diana Ross – Love conquers all obstacles if you have enough faith in yourself.

1972 – All the Young Dudes : Mott the Hoople – David Bowie wrote this song’s lyrics and sings on the chorus. The words sound like he’s calling for all the young (gay) dudes to come together. All the young dudes (I want to hear you) Carry the news (I want to see you) Boogaloo dudes (I want to talk to you, all of you) Carry the news (now) And there’s also this lyric that sounds like Lucy is a trans woman or a drag queen, but don’t bully them because Lucy will defend themselves. Lucy looks sweet 'cause he dresses like a queen. But he can kick like a mule, it's a real mean team

1974 - Rebel, Rebel : David Bowie - Part of what made Bowie beloved amongst the queer community is he was celebratory in how he portrayed androgyny and gender non-conformity and he was sexually ambiguous (bi? gay? straight?), while at the same time flaunting sexuality in everyone’s face. He exemplified the message to be yourself, even if you’re queer. This song’s lyrics include “You’ve got your mother in a whirl. She’s not sure if you’re a boy or a girl”

1976 - Dancing Queen : ABBA - This is a story of a 17-year-old girl on a nightclub dance floor, lost in the music and the moment. Of course, “queen” has a different meaning in the queer community and so this is often sung tongue-in-cheek. There’s a delightful campiness to ABBA that has long-appealed to gay fans, and gay singers like Erasure, have covered ABBA songs.

1976 - Somebody to Love : Queen - Freddie Mercury, who composed these lyrics, was gay. The question he keeps asking “Can anybody find me somebody to love?” could be about being gay in a society when any sexuality besides ‘hetero’ was frowned upon.

1977 - I Feel Love : Donna Summer - This is a song about loving your body and your desires, a powerful sentiment for people whose attractions were once seen as deviant and who grew up feeling shame for who they are. Try to listen to this song and not feel like dancing.

1978 - Macho Man : Village People - These lusty lyrics worship the muscled physique of the ideal macho man

1978 – I Love the Nightlife : Alicia Bridges – Alicia was out as a lesbian and this song is about going to the club and dancing the night away, which appealed to queer listeners because that’s the space where they would get to unabashedly & joyfully express themselves.

1978 - Got to be Real : Cheryl Lynn - If you stay real, you’ll find “real love,” in other words, be authentic and you’ll find authentic love. The song was prominently featured in the 1990 documentary Paris Is Burning, which chronicles the ball culture of New York City and the African American & Latino gay and transgender community involved in it. There’s something deliciously ironic about Drag Queens strutting to the words about being “real”

1978 - I’m Every Woman : Chaka Khan - This song of female empowerment & strength appealed not only to women but also black and queer communities across the world because it is about taking on whatever roles you want. And it’s a favorite song for drag queens to lip sync & dance to as they can present themselves as “every woman.”

1978 - I Will Survive : Gloria Gaynor - You can imagine marginalized people asking the same questions in the song: “Did you think I’d crumble? Did you think I’d lay down and die?” The gay community has embraced this song that is a declaration of resilience & pride Even after decades of progress, many LGBTQ people still have to deal with daily assaults on their personhood & “I Will Survive” remains relevant.

1978 - Y.M.C.A. : Village People - Very fun song. The lyrics make me think of young gay teens migrating to big cities like New York (often after being kicked out by their parents). The YMCA’s provided cheap shelter for them. And of course, the lyrics hint at all the gay activity, too. “It’s fun to stay at the YMCA. They have everything for you men to enjoy. You can hang out with all the boys.“

1979 - Don’t Stop Me Now : Queen - Essentially the song is just a man intent on having a wild night out and inviting the rest of us to come along for the ride or else get out of his way. The love interests flip between male & female and back again.

1979 - You Make Me Feel (Mighty Real) : Sylvester - The singer is black, gay and some form of gender queer and sings the song in falsetto. He’s singing the praises of someone who makes him feel good, validated and alive. The words about feeling real, those mean something to queer people.

1979 - In the Navy : Village People - The United States Navy asked to use this song in a recruiting campaign, they thought it seemed like a catchy song praising the life of a sailor. They later decided against it when media started criticizing the use of taxpayer funds for a “gay” music group because it would further enhance the much-whispered talk of gay activity aboard ships, what with all these men stuck at sea with no women for long stretches at a time.

1979 - We are Family : Sister Sledge - A message of unity that resonates for queer people as we often have to build a chosen family, and this song fits that.

1979 - Go West : Village People - The song is about an imagined utopia free of homophobia and discrimination. Why “Go West?” In the USA that’s been the direction of freedom and opportunity, and plus San Francisco had become a gay mecca and it was on the West Coast.

1979 - Gimme! Gimme! Gimme! (A Man After Midnight) : ABBA - A woman is alone in an apartment watching television late at night as the wind howls outside. She says, “Gimme, gimme, gimme a man after midnight.” A sentiment many a gay man could sing along with.

1980 - I’m Coming Out : Diana Ross - Yes, this song is about that kind of “coming out.” The lyrics also are about being your truest self and throwing aside shame’s shackles.

1981 – Elton’s Song : Elton John - A moving piano ballad about a gay teenage boy’s hopeless crush on another boy. The song contains themes of heartbreak and shame. The video is enough to make me cry. This is from before Elton John was publicly out as gay

1981 - Tainted Love : Soft Cell - Having an openly gay man sing this song gave it layers of meaning. The gay experience is not all about empowerment & acceptance. This song coming at the start of the AIDS crisis came to represent some of the fear & paranoia that became part of gay life. “Once I ran to you, now I’ll run from you.”

1982 - Do You Really Want to Hurt Me : Culture Club - Boy George had a 6-year relationship with the band’s drummer, Jon Moss. The relationship was kept hidden from the public, and George often felt hurt because he wanted to be open about his love. While the song is about their secret relationship, the video is about being victimized for being gay. It shows Boy George getting kicked out of different places in various historical settings. In the courtroom, the jurors are in blackface to show the bigotry and hypocrisy of the many gay judges & politicians in the UK (most were closeted) who enacted anti-gay legislation.

1982 - It’s Raining Men : The Weather Girls - Super campy song, ridiculous words, but it’s sung fearlessly with over the top vocals that make it so good. What gay boy didn’t wish it was raining men?

1983 - I’m Still Standing : Elton John - These lyrics of showing a strong sense of endurance in the face of adversity is a theme that resonates with the queer community and is exemplified by Elton John, himself.

1983 - Na Na Hey Hey : Bananarama - This remake of the 1969 song by Steam didn’t change the pronouns. This girl group is singing to a woman, asking her to leave her man because “He’ll never love you, the way that I love you”

1983 - Church of the Poison Mind : Culture Club - A man falls in love with a religious gay man who, because of what he was taught at church, can’t resolve his own feelings about being gay. If you’re living in a society distorted by prejudice, take a chance on joy--embrace love, whatever form it takes.

1983 - I’ll Tumble 4 Ya : Culture Club - A light-hearted song about looking for someone to fall in love with sung by Boy George, the most famous man in drag in the 1980’s.

1983 - Girls Just Wanna Have Fun : Cyndi Lauper - This song is about breaking the rules, letting go, being free and being visible. And yeah, lesbians wanna have fun.

1983 - Karma Chameleon : Culture Club - If you’re a person who doesn’t take a stand because you don’t want to offend anyone by being true to who you are, then karma is gonna get you. Boy George was in a relationship with the drummer, who wasn’t out so it had to remain secretive. Their difficult lover-professional relationship was the inspiration for many lyrics in Culture Club songs, including the line, “You’re my lover, not my rival” in “Karma Chameleon.”

1983 - Relax : Frankie goes to Hollywood - At a time when gay sexuality was still mostly illegal and therefore usually portrayed in song & media by way of clever allusions, “Relax” was a song about gay sex—and despite the video being banned by the BBC and MTV—was the biggest pop song in the world. The chorus was about delaying sexual gratification to increase pleasure ("Relax, don't do it when you want to come")

1983 - I Am What I Am : Gloria Gaynor - Gloria has taken this Broadway song and given it a disco/dance vibe. The song is about coming out of the closet and living life authentically.

1984 - I Want to Break Free : Queen - The video is a parody of the U.K. soap opera Coronation Street, which has the entire band in drag, including Freddie Mercury as a housewife while singing lyrics about wanting to break down the boundaries of acceptability. The video was banned in the U.S. 🙄

1984 – Smalltown Boy : Bronski Beat – Wanting to escape the oppressive nature of a small hometown is something many queer kids long for. The song takes the pain of rejection and makes it danceable. What else makes this song notable is it’s from an openly gay group during the peak of the AIDS crisis.

1984 - You Spin Me Round (Like a Record) : Dead or Alive - The singer is queer and singing a love song, the New Wave music is hot, and this is an iconic classic of the 1980’s

1985 - Lover Come Back to Me : Dead or Alive - The 1980’s synth, the huge hair, and a queer singer telling his lover to come back.

1985 - Living on My Own : Freddie Mercury - This video was too controversial at the time and was banned because it featured drag queens, transvestites, and other questionable people enjoying themselves at a party. The lyrics talk about being lonely & living on my own (which I don’t know if he meant it this way, but it’s a good way to describe how it feels being in the closet), but there’s got to be some good times ahead and the music matches that upbeat hope.

1985 - Sisters are Doin’ It for Themselves : Eurythmics & Aretha Franklin - It’s a feminist anthem that also has appeal as a song of lesbian empowerment

1985 - Somewhere (There’s a Place for Us) : Barbra Streisand - This song from the musical West Side Story is about love that is forbidden by society and dreaming of a place where such love is accepted, a theme queer people certainly understand.

1985 - Thank You for Being a Friend : Cynthia Fee - This song is on the list because it was the theme song for the TV show Golden Girls. When most people think of that show, they think of the 80′s fashions, cheesecake, the one-liners and showed older women as having sex drives. What the LGBTQ community remembers is that it had remarkably progressive outlooks on LGBTQ rights for its time, with nods to the AIDS crisis, coming out and even same-sex marriage. This video shows some Pride highlights from the show.

1985 - Love Me Like There’s No Tomorrow : Freddie Mercury - The lyrics are about two lovers who are forced to go their separate ways, we’re not told why, but it’s clear the singer is sad about losing his beloved. This 2019 video is two white blood cells falling in love, only to have heartbreak ensue when one of them gets HIV. This video benefits the HIV/AIDS charity organization the Mercury Phoenix Trust (MPT). MPT was founded by Queen in memory of Freddie

1986 - Nikita : Elton John - Elton John sings of his crush on a person called Nikita, an East German border guard whom he cannot meet because he is not allowed into the country. In the video, the guard is female, but the name Nikita is a male’s name.

1986 - True Colors : Cyndi Lauper - The lyrics are about seeing who someone really is and loving them for it. And it doesn’t hurt that your “true colors are beautiful like a rainbow”

1987 - I Wanna Dance with Somebody (Who Loves Me) : Whitney Houston - This is popular with the LGBTQ community. We wanna dance with somebody like us, so we go to gay clubs.

1987 - It’s a Sin : Pet Shop Boys - This song is about a person’s lifelong shame and guilt, presumably for being gay. “For everything I long to do, no matter when or where or who, has one thing in common, too. It’s a, it’s a, it’s a, it’s a sin”

1987 - Faith : George Michael - The song, about declining hookups and patiently waiting for a more meaningful connection, portrays a balancing act with which gay culture has long wrestled. “Well I need someone to hold me but I’ll wait for something more. Yes, I’ve gotta have faith” is just as meaningful today in a culture searching for love while swiping left.

1987 - So Emotional : Whitney Houston - This is a great pop song with lyrics that people can easily see themselves in. Whitney sang a lot of non-gender-specific songs, this being one of them. What we didn’t know at the time is that Whitney’s best gal pal had once been more than that, they cut out the physical part of the relationship when Whitney signed with Arista Records in 1982, but remained best friends, so there may be a reason she preferred to sing love songs without a gender. Also, as if the song isn’t iconic in its own right, I will always think of the epic lip sync performance by the drag queen Sasha Velour when I hear this song.

1987 - Always on my Mind : Pet Shop Boys - This is a remake of an Elvis song, but they dropped the references to a girl, making the gender of the person they’re singing about ambiguous.

1987 - Father Figure : George Michael - The phrase “Father Figure” represents how someone can take on a paternal role, encouraging & inspiring another person. Many queer men suffer alienation & rejection from their fathers. As one of these men begins to explore emotional intimacy with another man, the singer assures him that he’ll take on the role of loving and mentoring him, help him work through those issues.

1988 - One More Try : George Michael - The singer is calling his new lover “teacher” (maybe because he feels he has a lot to learn about love). He’s hesitant to enter a new relationship because he has been emotionally hurt by a previous one. The song concludes with a willingness for “just one more try.”

1988 - A Little Respect : Erasure - Singer Andy Bell was one of the first openly gay pop stars to actually sing about queer romance. In this song he’s calling to a lover to not leave and asks the question, “What religion or reason could drive a man to forsake his lover?”

1988 - Kissing a Fool : George Michael - George is lamenting the recent lost love of a man "who listened to people who scared [him] to death and from my heart.” The line “strange that you were strong enough to even make a start” suggests that the ex-boyfriend was in the closet or was reluctant because of the baggage & reputation that came with dating a star like George Michael. Under the homophobic scrutiny, the boyfriend was made to “feel a fool.” In the end, George is heartbroken and is the one left feeling “a fool.”

1989 - Express Yourself : Madonna - “Don’t go for second-best” just because he treats you nicely in bed, but then is emotionally distant. Stand up for yourself and what you need in a relationship. So why is this on this Pride playlist? The music video! All those muscular men.

1989 - Part of Your World : Jodi Benson - This song is from Disney’s The Little Mermaid. Ariel rejected traditional marriage partners and wants to marry a human against her father’s wishes. She dreams of being a part of the human world. For a long time the LGBTQ community has wanted to pursue romance & marriage with whom we want in a society where we could belong & be welcomed.

1990 - Vogue : Madonna - “Look around: Everywhere you turn is heartache.” That’s not exactly a fluffy opening for a dance-pop song—and that’s the point. This is still the time of America’s AIDS crisis, and this song is inspired by New York’s gay ball scene. This song wants you to put away the heavy stuff for a little while and get on the dance floor.

1990 – Groove is in the Heart : Deee-Light – A message of love and good times and the singer, Lady Miss Kier, although a woman, has a drag-queen sensibility to her colorful retro style

1990 - Freedom! ‘90 : George Michael - This song is cleverly about 2 things. One is about his career–the breakup of Wham! and then the success of his album Faith, and how he’s tired of being pushed around by his label so he’s taking control of his career and telling people to disregard the pop imagery of his past. It’s also about him wanting to come out of the closet about being gay, “There’s something deep inside of me, there’s someone else I’ve got to be.” It would be almost another ten years before he was publicly out.

1990 - Being Boring : Pet Shop Boys - “When you’re young you find inspiration in anyone who’s ever gone and opened up a closing door,” I believe this is talking about being in the closet and the hope that comes from people who’ve come out. The final verse, “Some are here and some are missing in the 1990’s,” AIDS wiped out much of a generation of gay people in the 1980’s. Now he’s grown up and out of the closet as “the creature I was always meant to be.”

1990 - Gonna Make You Sweat : C+C Music Factory - Fun dance song. In a 1997 episode of the The Simpsons, a steel mill turns into a flamboyant gay club when this song comes over the loudspeaker

1991 - Losing My Religion : R.E.M. - Lead singer Michael Stipe had several times declined to address his sexuality, so when “Losing My Religion” came out, people assumed Stipe was hinting that he is gay. “Consider this, the hint of the century. Consider this, the slip.” It stands as a classic example of queer coding in the era of “don’t-ask-don’t-tell”. The song was often interpreted as the struggle of Michael Stipe as a closeted gay man to come to terms with what religion taught about him.

1991 - I’m Too Sexy : Right Said Fred - A fun song about a guy who is full of himself, thinks he is so sexy. Richard Fairbrass, the singer of the group, came out as gay at the time of this song, which made the song seem representative of a certain narcissistic part of gay culture that centers on the gym and muscle worship

1991 - Emotion : Mariah Carey - This song displays Mariah’s crazy vocal range, is upbeat and danceable. Mariah grew up a poor, biracial young woman in the 1970s and 1980s. She had a drive to prove she is “worthy of existing,” and this has resulted in a number of songs about self empowerment, overcoming obstacles, a desire to belong, and all those things are relatable to the LGBT community.

1991 - Finally : Cece Penniston - A dance hit about falling in love. A lot of people, including queer people living in a heteronormative world, wonder if we’ll ever find true love, and can relate to the excitement & relief of the lyrics that “Finally, it has happened to me.” This song was featured in the 1994 movie The Adventures of Priscilla, Queen of the Desert, which was about two drag queens and a trans woman trekking across the Australian Outback in a tour bus they named Priscilla. The show is a positive portrayal of LGBTQ individuals.

1992 - Constant Craving : k.d. lang - She had been a country singer, but came out as gay and released this song. Every lesbian knew exactly what k.d. was craving.

1992 - Damn I Wish I Was Your Lover : Sophie B. Hawkins - The song’s lyrics are written from the perspective of a woman who is observing another woman in an abusive relationship. The singer is having a difficult time seeing her “black and blue” and dreams of rescuing this abused woman and making her happy, taking away her pain, and being physically intimate with her. Hawkins has stated that she is “omnisexual.”

1992 - Take a Chance on Me : Erasure - ABBA had a following among the gay community, and Erasure singing one of their songs helped bring ABBA back into mainstream consciousness again. Plus in the video, two members of Erasure dress in drag playing like they’re the women from ABBA.

1992 - This Used to be my Playground : Madonna - The lyrics are about losing childhood innocence and gaining responsibilities. The song came to be seen as an ode to gay friends who died during the AIDS crisis, and the loss of innocence that epidemic caused.

1992 - The Last Song : Elton John - When he learned that his son was gay, the father had “disowned” him, but upon learning his son was dying from AIDS, overcame his homophobia to spend the final moments with his son. This one makes me cry.

1992 – Deeper and Deeper : Madonna - The song talks about sexual desire, though in the gay community it’s seen as being about a young man coming to terms with being gay. “I can’t help falling in love. I fall deeper and deeper the further I go. Kisses sent from heaven above. They get sweeter and sweeter the more that I know”

1992 - Supermodel : RuPaul - RuPaul’s debut single introduced much of America to “sashay/shantay.” RuPaul used this breakthrough hit to become America’s favorite mainstream drag queen.

1993 - Bi : Living Colour - One of the very few songs (that I’m aware of) that celebrates bisexuality. The main line is “everybody loves you when you’re bi”, which is so affirming.

1993 - Somebody to Love : Queen & George Michael - At the Freddie Mercury Tribute Concert, George Michael sang this song about a man calling out to God, asking why he works so hard but can't find love. At the end of the song, he finds hope and decides he will not accept defeat. Given our smaller numbers and the process we go through to accept ourselves, queer people often work harder to find love. And here is George Michael, who became a gay icon, singing the song fabulously.

1993 - What’s Up - 4 Non Blondes - This was the first Top 40 hit by an openly lesbian group (somehow the Indigo Girls never got higher than #52). The song begins with the singer saying she’s 25 but is feeling discontent and confusion. She cries as a form of relief because she feels a little peculiar. In the morning she steps outside and yells “what’s going on?” She tries in this institution (which many think means the homophobic and sexist aspects of American) and she calls for a revolution. Since 1993, in many ways we have seen a revolution that is overturning many aspects of the homophobic restrictions that had gay people feeling stuck in an institution rather than able to fully be themselves.

1993 - Go West : Pet Shop Boys - This is a remake of the song by the Village People which imagines a utopia free of homophobia and discrimination. It’s a song of queer community & spirit, and we’ll all do it “Together!”

1993 - Come to my Window : Melissa Etheridge - Melissa came out publicly coming out as a lesbian and then released an album titled “Yes, I Am.” This song from the album is about a secret love. “Come to my window, crawl inside, wait by the light of the moon.” Certainly many gay people know about keeping a love on the down low. The song’s bridge really voices what a lot of queer people feel: “I don’t care what they think, I don’t care what they say. What do they know about this love, anyway?”

1993 - Hero : Mariah Carey - The song has a message that really speak to LGBTQ people. Inside of every person is the ability to be your own hero. looking to yourself & finding the inner courage to be strong & believe in yourself through the hard ties. ”There's a hero if you look inside your heart. You don't have to be afraid of what you are.” And it goes on to speak about casting aside your fears and surviving and finding love within yourself. Btw, in 2016 Mariah was honored by GLAAD with the Ally Award, and she gave her definition of LGBTQ--”L: legendary. G: gorgeous. B: beautiful — all of you beautiful people! T: tantalizing, and even Q for quality!"

1994 - Streets of Philadelphia : Bruce Springsteen - Bruce wrote this haunting song for the film Philadelphia, which was about a lawyer who was fired for being gay & having HIV. This song is about a man dying of AIDS. The lyrics begin with him seeing his reflection, but the disease has given him lesions & he’s lost so much weight that he doesn’t even recognize his reflection. “Oh brother, are you gonna leave me wastin’ away on the streets of Philadelphia?” This line is asking how society could turn its back on those who need help the most, even here in Philadelphia, the City of Brotherly Love. As he’s walking the streets, he is thinking of friends who had died from AIDS. He can hear the blood pulsing in his veins, and he describes it as black, because HIV/AIDS is an infection of the blood and the disease is (figuratively) black and deadly.

1995 - I Kissed a Girl : Jill Sobule - A song of yearning, confusion, and freedom

1995 - Queer : Garbage - The term “queer” in these lyrics meant odd or different, but Garbage is very open to the queer community and how we use that word.

1996 – Jesus to a Child : George Michael - The melancholy song is a tribute to Michael’s Brazilian lover Anselmo Feleppa. Feleppa died from an AIDS-related brain hemorrhage. The song’s rhythm and harmony is influenced by the Brazilian bossa nova style. Michael would always dedicate the song to Feleppa before performing it live.

1996 - Fastlove : George Michael - A guy was in a committed relationship that didn’t work out and now he just wants to not worry about love. “Had some bad love, so fast love is all that’s on my mind.” But even as he’s saying he’s seeking a casual hookup, keeps saying he misses his baby, being with someone he loves would be his preference.

1996 – Seasons of Love : Cast from the musical Rent - What is the proper way is to measure the value of a year in human life? The most effective way is to “measure in love”. Since four of the lead characters have HIV or AIDS, the song is often associated with World AIDS Day and AIDS awareness month.

1997 - Go the Distance : Michael Bolton- This song from the Disney movie Hercules is about not belonging and declaring that no matter what struggles lie ahead, I’m going to find my place in the world. That's definitely inspiring.

1997 - You Have Been Loved : George Michael - George Michael wrote this song about Anselmo Feleppa, who died of an AIDS-related illness in 1993. The beginning of the song describes Anselmo’s mother, who visits his grave. The first chorus has Anselmo’s mother saying goodbye, telling him “You have been loved.” The ending chorus has Anselmo dying, telling George, “You have been loved.” The line, “If I was weak, forgive me; but I was terrified,” refers to the trauma George felt during Anselmo’s decline in health. While an intense song about grief and death, it also involves a spiritual struggle. Anselmo and his mother both say that God is not dead, George counters by challenging God. “What’s the use in pressing palms, if you [God] won’t keep such love from harm? It’s a cruel world. You’ve so much to prove.”

1997 - Come On, Eileen : Save Ferris - This is a remake of the 1982 hit by Dexys Midnight Runners which was about getting a school girl to overcome her Catholic repression and begin a romantic (and possibly sexual) relationship. Only now a woman is singing about Eileen and that makes it a queer song.

1997 - Together Again : Janet Jackson - The album notes included: “I dedicate the song ‘Together Again’ to the friends I’ve lost to AIDS.” It’s a sweet song with hopeful words. “Everywhere I go, every smile I see, I know you are there smilin’ back at me”

1998 - Diva : Dana International - Dana is a transgender woman who won the 1998 Eurovision Song Contest. It was the first major celebration of a trans artist on an international stage. Dana’s representation of her country Israel created a furor among Israel’s Orthodox Jewish community. After her win, she addressed her detractors. “My victory proves God is on my side,” read her statement. “I want to send my critics a message of forgiveness: try to accept me. I am what I am.” She was a beacon that many LGBTQ people in Israel list as their first hope that things could get better, that it is okay to be queer.

1998 - Reflection : Christina Aguilera - This song from the Disney movie Mulan is about how others don’t know the real you, which means the lyrics can fit the experience of being in the closet. “Look at me. You may think you see who I really am, but you’ll never know me. Every day it’s as if I play a part.” The song also is adopted by a lot of trans people because how they feel on the inside doesn’t match how they look on the outside. “Who is that girl I see staring straight back at me? Why is my reflection someone I don’t know?”

1998 - Believe : Cher - Whatever happens, you’ve gotta believe there’s something better coming. Keep going and loving, because the next love will be better. It’s about strength and power and hope. And the fact that it’s not always easy to be who you are.

1998 - Outside : George Michael - George Michael was entrapped by police committing a lewd act in a public men’s bathroom in Los Angeles under suspicious circumstances. The video mocks the way queer men are held to different standards about sex--many couples were caught getting frisky, but the gay couples are the ones arrested.

1999 - Man! I Feel Like a Woman : Shania Twain - This is about going out, letting down your hair and having a good time. The message is she loves being a woman. “The best thing about being a woman is the prerogative to have a little fun.” My queer friends who identify as women love feeling like a woman.

1999 - There She Goes : Sixpence None the Richer - It’s surprising that a Christian band with a female singer does a song about being attracted to a woman who you just can’t get out of your brain. “There she goes. There she goes again. Racing through my brain. And I just can’t contain this feeling that remains.”

1999 - When She Loved Me : Sarah McLachlan - This is from Toy Story 2, if you remove the idea this is about a toy, the lyrics are about a woman reminiscing a past female love.

2000 - It’s Not Right But It’s Okay (Thunderpuss mix) : Whitney Houston - “I’m gonna be okay, I’m gonna be alright” shows a certain defiance & determination to go on, a message that strikes a chord with LGBTQ people

2000 - Stronger : Britney - This is a declaration of independence and self-empowerment. “You might think that I won't make it on my own, but now I'm stronger than yesterday.” Those are lyrics that queer people can embrace. We always can use an empowering dance song.

2001 - Androgyny : Garbage - I think this song has two messages. First, don’t dismiss people who don’t fit traditional gender roles. The other message is about trans individuals who “can’t see the point in going on,” they’re reminded that “nothing in life is set in stone, there’s nothing that can’t be turned around.” Trans individuals who were assigned female at birth may consider themselves “boys in the girls room.” Then when they decide to present themselves as male, others may consider them to be “girls in the men’s room.”

2001 - I Want Love : Elton John - This song is about a man who’s gone through some hard times, lost love, and as a result has built up some scars around his heart, but yet he wants love. Elton was mid-30′s at the time the song was released, which is a time a lot of people look at their life and want someone to settle down with, want a deeper connection with someone they can trust and have a long-lasting relationship.

2002 - Cherry Lips : Garbage - This song is inspired by a fictional trans woman. “Cherry Lips” talks about a boy looking like a girl who makes the whole world want to dance.

2002 - Beautiful : Christina Aguilera - This song affirms those who feel they don’t fit in. The video includes young people with body issues, a goth punk, a person assigned male at birth putting on women’s clothes and two guys kissing in public. “I am beautiful no matter what they say. Words can’t bring me down.” But songs can lift you up, and this one does.

2003 – Defying Gravity : Idina Menzel – In this song from the musical Wicked, the character Elphaba sings of how she wants to live without limits, going against the rules that others have set for her. Plenty of queer people can relate.

2003 - Gay Bar : Electric Six - The words are straight forward, “I wanna take you to a gay bar.” The music video is nuts, lead singer Dick Valentine portrays Abraham Lincoln in the White House getting increasingly ready for the gay bar--loses the pants, exercises, takes a bath, wears bdsm leather.

2003- If You Were Gay : Cast from the musical Avenue Q - An irreverent musical using puppets had this song between the characters that resemble Sesame Street’s Bert & Ernie. It’s about how a closeted person may have trouble accepting themselves, even if their friend is affirming. This performance of the song by the San Francisco Gay Men’s Chorus is delightful.

2003 – Me Against the Music : Britney Spears and Madonna - The music video shows Spears and Madonna playing opposites in a nightclub. A cat-and-mouse chase ensues, and Spears finds Madonna in the end, only for the latter to disappear just before they kiss.

2004 - Toxic : Britney Spears - This song is basically a girl addicted to a guy and she’ll do anything to get what she wants, and the taste of his lips is intoxicating. Idk why this became such an anthem in the LGBT community other than in the early 2000′s Britney’s presence in pop culture was dominant, and she was a supporter of the queer community, and each song she put out was more empowering, sexually playful, along with a sense of vulnerability. I think for a lot of bi & lesbian women, Britney played some part in their sexual awakening. Plus there’s a stereotype that gay people walk quickly, that’s because we have Toxic by Britney Spears (143 bpm) playing in our heads.

2004 - Amazing : George Michael - After the painful and sudden death of his beloved Anselmo, George started a new relationship with Kenny. During that time, George’s mom was fighting cancer and Kenny was there for him. To be able to comfort a person in their time of grief and come out of it closer, that’s Amazing

2004 - Proud of Your Boy : Clay Aiken - This song was written for Aladdin and the words make me think of coming out and worrying what your parents are going to think and will they still be “proud of [their] boy”? Clay came out as gay a few years later in 2008.

2005 - Hung Up : Madonna - It’s about living your best life and not wasting anymore time on men who wont call you. And it has that synthesizer riff from ABBA’s Gimme! Gimme! Gimme! (A Man After Midnight)

2006 - And I am Telling You : Jennifer Hudson - This song is about an underdog, and being LGBTQ makes us underdogs in our heteronormative society. “And I am telling you that I’m not going.” I’m going to be here and I’m going to thrive, I’m going to be me and you’re going to see me and “You’re Gonna Love Me.”

2007 - Grace Kelly : MIKA - Mika wrote the song after he felt frustrated with record label executives who wanted him to change his sound to be more like another pop singer. Mika wrote “Grace Kelly” to reject pretending be someone else to win approval – in this case the glamorous actress Grace Kelly, or he “could channel a little Freddie” Mercury. Refusing to change who you are to find acceptance is the stuff gay anthems are made of. We love Mika because he’s authentically queer and has no interest in conforming and instead is his flamboyant self

2007 - Billy Brown : MIKA - It was all going according to plan for Billy Brown: he had a wife, two kids and a dog. Then he fell in love with another man.

2007 - Sweet Dreams : MIKA - Mika covers this 1983 Eurythmics’ anthem of resilience. The Eurythmics singer Annie Lennox was seen as something of a gender bender thanks to her buzz cut & men’s suits. This song acknowledges that sometimes life is hard, some people want to use or abuse you, but “hold your head up,” and keep moving on and you’re sure to leave the nightmare for a sweet dream.

2007 - I Don’t Dance : Corbin Bleu & Lucas Grabeel - This song from High School Musical 2 is where Chad, co-president of the drama club, is trying to get Ryan, co-president of the basketball team, to “swing” to the other side, if you know what I mean. The scene in the movie is about playing baseball, and at the end of it, the two of them are sitting together wearing the other’s clothes. Guess Chad got Ryan to swing.

2008 - Talk About Love : MIKA - Super catchy chorus, he’s fallen in love and now all he wants to talk about is his new love.

2008 - Just Dance : Lady Gaga - This is Gaga’s first hit and she tells herself to just dance and everything will be okay. Whatever hard things are going on in our life, sometimes we have to take a break from them, and dance. Lady Gaga performed this at the inaugural NewNowNext Awards, which were broadcast on the Logo network in June 2008. Logo is targeted to the gay community

2008 - I Kissed a Girl : Katy Perry - Katy has a boyfriend, but she kissed a girl and liked it. Don’t pretend you don’t want to run to the nearest drugstore for some new cherry chapstick after listening to this song. This song isn’t about being bi, it’s about experimenting.

2008 - Poker Face : Lady Gaga - “Poker Face” is all about masking your sexuality. During a performance in 2009, Gaga explained that the song dealt with her personal experience with bisexuality. When she’s with a man but fantasizing about a woman, she’s got a “Poker Face” so he won’t know what is going through her mind.

2009 - Cover Girl : RuPaul - The theme song to the RuPaul’s Drag Race TV show which brought Drag performance and culture to the masses.

2009 - You Belong with Me : Taylor Swift - Not 👏 a 👏 single 👏 male 👏 pronoun 👏 in 👏 sight! The singer is pining over her close friend, who is dating a girl who doesn’t really get them. There’s nothing stopping us from reading this as a girl crushing on her gay best friend.

2009 - Bulletproof : La Roux - Everyone was asking if singer Elly Jackson was a lesbian or bi and she was vague in answering. She had a girlfriend but was worried what coming out would mean for her career. She still doesn’t like labels, she feels androgynous but more feminine than masculine, and she doesn’t call herself “gay”, “straight” or “bisexual.” However, she says "if people want to hold me up as a gay role model, absolutely, I’m proud to be that, but I don’t feel the need to say that I’m gay to do it.” The song is about a girl who has been through a lot of bad relationships and hopes that "next time maybe, I'll be bulletproof" meaning she hopes she doesn't get hurt in the next relationship she's in.

2009 - Bad Romance : Lady Gaga - First, it’s gender neutral so any of us can sing without translating pronouns. Second, it’s about loving someone completely, including their “bad” parts, “I want your ugly, i want your disease.” Third, Lady Gaga showed up to the 2010 MTV Music Awards w/ four members of the U.S. military who had been discharged or resigned because of the Don’t Ask Don’t Tell policy. When she went on stage to receive the Video of the Year award for “Bad Romance,” Gaga wore the now-infamous “meat dress,” as a way to show her anger about the military’s anti-LGBTQ policy. “If we don’t stand up for what we believe in and if we don’t fight for our rights, pretty soon we’re going to have as much rights as the meat on our bones.”

2009 - Whataya Want From Me : Adam Lambert - I wonder if this song is referencing when he was figuring out his sexuality with words like “Yeah, it’s plain to see, baby you’re beautiful and there’s nothing wrong with you. It’s me, I’m a freak.”

2010 - Cold War : Janelle Monáe - The song starts off saying “being alone's the only way to be. When you step outside, you spend life fighting for your sanity.” The chorus is how this is a cold war and knowing what you’re fighting for. Then there’s a bridge about strengthening the weak and if we unite and have faith in love then the mighty will crumble. This is followed by “I was made to believe there was something wrong with me.” So powerful. Alone we feel weak and need to hide, but united we are strong. Janelle has said this and additional songs about being the “other” can be about being a lesbian or being a gay man or being a black woman.

2010 - If I Had You : Adam Lambert - I love how the beginning sounds like Adam is going out to a gay club “So I got my boots on, got the right amount of leather, and I’m doing me up with a black color liner, and I’m working my strut.” Not the way we usually hear about a guy getting ready for a night out

2010 - Dancing on my Own : Robyn - It’s a break up song. “Somebody said you got a new friend. Does she love you better than I can?” But with a great dance beat like this, it’s a sure bet Robyn won’t be dancing on her own for long.

2010 - All the Lovers : Kylie Minogue - A feel-good dance track about love. The video has people strip down to their underwear, form a pyramid and begin kissing. All sorts of people kissing, very pansexual.

2010 - Mine : Taylor Swift - This is a song about a careless man’s careful daughter going off to college and falling in love with a small town waitress. That’s it. That’s the song.

2010 - Ice Cream Truck : Cazwell - This is something of a guilty pleasure. It’s a cute, simple and upbeat 1980’s-style hip-hop summer anthem that conveys happiness about being gay. I would describe the video as delightfully raunchy, a bunch of shirtless male dancers licking their popsicles (and a couple of butts also make an appearance)

2010 - Raise Your Glass : P!nk - The song is a call to the underdogs of the world, the “loud and nitty-gritty dirty little freaks,” to ignore convention and just let loose. Lyrics like these are so relatable: “So raise your glass if you are wrong in all the right ways, all my underdogs.” Plus, the video has her singing at a gay wedding.

2010 - We R Who We R : Ke$ha - After a news story that bullying led to multiple suicides of gay youth, Ke$ha wrote this song in hopes that it would become a Pride anthem. The song is intended to inspire people to be themselves, and as a celebration of anyone deemed quirky or eccentric. Kesha was upset people have to hide themselves and pretend to be someone other than who they are in order to be safe.

2010 - Firework : Katy Perry - Everyone is a firework–an ordinary, ugly, or insignificant wrapping but in the right situation, they ignite and show how amazing, extraordinary, and beautiful each of us is. No wonder it’s loved by the queer community, once we come out, others see we’re bright and beautiful. The video features a scene in which two boys passionately kiss. And the lyrics “after the hurricane comes a rainbow” fits because rainbows are tied to the LGBTQ community. Katy Perry dedicated this song to the “It Gets Better” video campaign aimed at gay youth who may feel alone or suicidal.

2010 - Teenage Dream : Glee Cast - This song being sung by one boy for another was a big moment on a big TV show.

2010 - F**kin’ Perfect : P!nk - With all the negative messages we grow up hearing about our gender identity or sexual orientation, it’s so affirming to hear “Don’t you ever ever feel like your less than, less than perfect”

2011 - Born This Way : Lady Gaga - Many songs hint at queer identities and acceptance by using metaphors, but not this one, it is direct. “No matter gay, straight, or bi, lesbian, transgender life, I’m on the right track, baby, I was born to survive.”

2011 – Mean : Taylor Swift – This is an anti-bullying public service announcement. Even more than others, Queer kids are subject to bullying, so a song addressing the topic resonates. And then there’s a lyric about moving to the big city, which for us can be understood as a place where it’s safe to be gay. “Someday I’ll be living in a big old city, and all you’re ever going to be is mean.”

2011 - Americano : Lady Gaga - This song is about the unjust laws that exist in America, particularly regarding immigration and gay rights. The scenario is she falls in love with a girl from East L.A. (heavily Hispanic population) but can’t marry due to the laws prohibiting gay marriage. As to the “I don’t speak your Americano, I don’t speak your language oh no, I don’t speak your Jesus Cristo” I think it’s rejecting the religious rhetoric used to justify the laws.

2011 – Call Me Maybe : Carly Rae Jepsen - The video begins with Carly Rae spying on her attractive neighbor as he is working on his lawn. She tries to get his attention with various provocative poses only for her neighbor to give his phone number to Carly Rae’s male band mate

2011 - We Found Love : Rihanna - Finding love in a hopeless place, for many queer people this can be what it’s like in a heteronormative society, or when we’re in the closet and find someone. Or also that hard transition to accept & love yourself, and then going from that to hoping to find someone.

2011 - Take a Bow : Matt Alber - A beautiful, heartfelt cover of the 1994 Madonna song with just a guitar for accompaniment. With an openly gay man singing the words, it transforms this into a gay love song.

2011 – Titanium : David Guetta feat. Sia – The openly queer singer Sia wrote this song about enduring everything the world throws at you and coming out stronger

2012 - Starships : Nikki Minaj - The lyric "starships are meant to fly," is a line about reaching one's full potential in life. A great song to sing when needing motivation to just go for it and not let other people’s ideas or judgements box you in. Nikki has been an ally to the queer community. On MTV she encouraged her gay fans to be fighters and to be brave, and she canceled a concert in Saudi Arabia to show support for women and LGBT+ people in the country.

2012 – Thinkin About You : Frank Ocean – Just before this song was released, Frank Ocean came out. There haven’t been many hip-hop stars who are openly gay. And it got me wondering who it is he’s been thinking about?

2012 - Same Love : Macklemore & Ryan Lewis - I have a nephew who got called gay for wearing stylish clothes, being neat, and interested in art & music. He had a hard time accepting that his uncle (me) is gay because of his experience, and it made me think of this song.

2012 - I Wanna Dance with Somebody (Who Loves Me) : Matt Alber - A gay man singing the big Whitney Houston hit about wanting to dance with someone.

2012 - Wings : Little Mix - Little Mix is a British girl band well-known for being LGBTQ Allies and including LGBTQ themes in their songs. Wings is about believing in yourself and not letting anyone put you down, a message that resonates with their LGBTQ fans.

2012 - Let’s have a Kiki : Scissor Sisters - A drag performer is heading out to put on a show, but when she arrives at the club it’s been shut down by the police. So she calls up a friend and announces “We’re coming over and having a kiki.”

2012 - Closer : Tegan and Sara - Not many bands are made up of twin lesbian sisters. This song is really cute. The lyrics are about the anticipation before the kiss, before anything gets physical.

2012 - For All : Far East Movement - As the fight for marriage equality was taking place, this group sang “Love is for all. Life is for all. Dreams are for all. Hope is for all. Feel the love from everybody in the crowd now, this is for y’all, this is for all.” The video intersperses some uplifting words from President Obama.

2012 - They Don’t Know About Us : One Direction - People tell a couple they shouldn’t be together and that their love isn’t real. Sound like something a queer couple might hear? In the song, no one can stop them, they’re together for life. Also, people thought this song might have been hinting about Larry Stylinson (Louis & Harry).

2012 – Somebody Loves You : Betty Who - The song keeps saying “somebody loves you,” and that somebody is the person singing the song. Most people discovered this song from a viral video of a gay marriage proposal at a Salt Lake City Home Depot

2013 - Lay Me Down : Sam Smith - A melancholy song with a video to match of a husband being buried and Sam saying to also Lay Me Down. But then Sam reminisces about a happier, more blissful time–their gay wedding that was held at the same church.

2013 - People Like Us : Kelly Clarkson - the song is about all the people who are brave enough to challenge the social norms to bring about change in the world. These words in particular strike me, “this is the life that we choose” and “come out, come out if you dare.”

2013 - Popular Song : MIKA feat. Ariana Grande - This is an imaginative updating of the song “Popular” from the musical Wicked. The lyrics are about how being popular and cool in school isn’t enough, and those who bullied others grow up to not be so popular. In other words, the tables will turn, you’ll need more to be successful than being popular.

2013 - Brave : Sara Bareilles - Sara wrote this song of courage as a love letter to a friend who was struggling as an adult to come out as gay.

2013 - Q.U.E.E.N. : Janelle Monáe - The title is an acronym for Queer, Untouchables, Emigrants, Excommunicated, and Negroid. The song is about the empowerment of oppressed people. Monáe uses a question-answer format to explain stereotypes, misconceptions, and oppression.

2013 - Cameron : Jilette Johnson - The song is inspired by a real life Cameron the singer knew & loved. Cameron is a young gender-non-conforming person who isn’t accepted by their family or society. The singer repeats, over and over, that Cameron isn’t the alien the world thinks they are – “Cameron, you’re a star, a light where there is dark. And you’re a hundred times a woman, a hundred times the man that they are.”

2013 - All Night : Icona Pop - The song is about expressing yourself, and that life gets better and we will find ourselves dancing. The video is about the LGBT house ballroom subculture.

2013 - She Keeps Me Warm : Mary Lambert - A beautiful song about how women can love each other, protect each other and desire each other. And the lyrics “not crying on Sundays,” I think means not believing the damning words preached by religion about being gay

2013 – Take Me to Church : Hozier - This is a ode to worshiping in the bedroom. Hozier is an outspoken LGBTQ ally and the music video depicts two gay men being ripped apart by homophobic violence in Russia. It brought international attention to the anti-gay laws in Russia.

2013 - Work Bitch : Britney Spears - The things you want in life are attainable but you gotta focus and work. Britney wrote this song with her gay friends in mind. “I don’t call everyone… that word. I just use it as, it’s like in respect to the gays as a term of endearment.”

2013 - Girls/Girls/Boys : Panic! At the Disco - There is a love triangle between a boy and two girls, and the boy is being played off against a girl for the other girl’s attention. Pansexual rock star Brendon Urie sings “Girls love girls and boys. Love is not a choice.”

2013 - Follow Your Arrow : Kacey Musgraves - “kiss lots of boys – or kiss lots of girls, if that’s something you’re into.” It's sad that a one-liner about kissing whoever you like is still controversial in Country music today, but I love her poking holes in that genre’s homophobia.

2013 - Let It Go : Idina Menzel - From the movie Frozen, this song says to abandon the fear and shame, be yourself, be powerful. The lyrics could almost come from an It Gets Better video about embracing who you are. And these lines are how it feels after some time has passed and we look back at our coming out experience: “It’s funny how some distance makes everything seem small. And the fears that once controlled me, can’t get to me at all”

2014 - Sleeping with a Friend : Neon Trees - Glenn Tyler says he was thinking of a straight male friend when he wrote this (but used female pronouns in the song). It’s an unusual love song because it’s a cautionary tale of hooking up with someone you’re close with.

2014 - Rise Like a Phoenix - Conchita Wurst - The lyrics are about combating prejudice and the judgement of others in modern society. Conchita won Eurovision singing this song while wearing a gown, makeup and a beard.

2014 – Stay With Me : Sam Smith – One night Sam fell for someone, but they didn't feel the same. Good ol’ unrequited love. Sam used this music video to come out as gay by admitting the person being sung about is a man.

2014 - Sissy that Walk : RuPaul - A perfect walkway song for all those drag queens, and any of the rest of us, who want to strut what we got

2014 - Really Don’t Care : Demi Levato - The video starts off with Lovato expressing her support for the LGBTQ community and saying that “My Jesus loves all.” The music starts and Levato is singing at a Pride parade. Demi said “When I thought of the lyrics ‘really don’t care’, it made me think of bullying, and made me think of the LGBTQ community, who deal with that so often, but they accept themselves.”

2014 - Break Free : Ariana Grande feat. Zedd - Ariana’s older brother is gay and she grew up around his friends, she’s an ally. And the words of this song, “I’m stronger than I’ve been before. This is the part when I break free ’cause I can’t resist it no more” has the theme often found in gay anthems--that things are tough, but I’m tougher and going to make it. Breaking free of what the world wants you to be to become who you truly are has made this song a coming-out anthem.

2014 - Secrets : Mary Lambert - We grow up hiding things about ourselves, we all have secrets, but how much better when we don’t care if the world knows our secrets. “They tell us from the time we’re young to hide the things that we don’t like about ourselves inside ourselves. I know I’m not the only one who spent so long attempting to be someone else. Well I’m over it”

2014 - Feeling Good : George Michael - This is the final song released by George before his death. It expresses a particular kind of joy which comes with liberation from oppression. Nina Simone’s stunning vocal performance of this song in the 1960’s during the Civil Rights movement made it a manifesto of that movement’s burning desire for freedom. And then here is George Michael, a gay man, and the song is born again as a desire for the queer community to be liberated from oppression.

2014 - Centuries : Fall Out Boy - Peter Wentz, one of the co-writers of this song, says the idea is a “David vs.Goliath story” meant to empower people who are a little weird. Justin Tranter, another of the co-writers, revealed in 2018 that trans pioneer Marsha P. Johnson was the inspiration for the song. When making the announcement, Tranter said, “I want every LGBTQ person to know that our ideas are mainstream. We have stories to tell and people will f*cking listen”

2014 - Put ‘Em Up : Priory - The song begins with a religious mom saying her trans kid has some kind of sickness. The mom may not be happy, but “we're hangin' with the boys that look like girls tonight” and “we're hangin' with the girls that look like boys alright”. The video features trans & gay people.

2014 - Jessie’s Girl : Mary Lambert - This is a remake of the 1981 hit song by Rick Springfield, but now it’s a woman longing for Jessie’s girl.

2014 - First Time He Kissed a Boy : Kadie Elder - This is about recognizing your sexual orientation at a young age and the difficulties that can follow. Being a teen isn’t easy and the choices teens have to make aren’t easy, but if you are brave enough and stand up for yourself, you might shock others but you might also become happy. It has a gay-positive video that tells the story in a touching way.

2014 - Welcome to New York : Taylor Swift - An insecure girl falls in love with a city where you can want who you want. “When we first dropped our bags on apartment floors, took our broken hearts, put them in a drawer. Everybody here was someone else before, and you can want who you want: boys and boys and girls and girls”

2014 - Little Game : Benny - Many people may know Benny from his YouTube channel. Little Games is about the ways in which rigid concepts of gender still dictate our behavior today. I think the creepy and catchy melody & video are a good match for the lyrics “play our little game"

2015 - All-American Boy : Steve Grand - A Country song that tells the story of a gay young man in love with a straight male friend.

2015 - Don’t Wait : Joey Graceffa - Joey is a well-known YouTube personality and with this song he came out. The song says to not wait for the world to get ready but to go explore and find what you’re looking for. The video is the adorable queer fairy tale we’ve all been waiting for. I love these lyrics, “The darkness can be such a lonely place on your own, I’ll be your compass so you’ll never feel alone.”

2015 - Calling Me : Aquilo - Growing up, we all grapple with who we are and who we want to become. We all go through a period of being unsure of our personality, creativity and perhaps even our sexuality. We have to battle to not be defined by what others think of us, but to believe in ourselves. It’s a battle we’ve all had to fight. In the video, the singer learns to stay strong, keep his head high and accept who he is, even if others can’t.

2015 - Good Guys : MIKA - Mika plays off the 1997 Paula Cole hit “Where Have all the Cowboys Gone” but instead asks “Where have all the gay guys gone?“ Mika shifts “gay guys” to “good guys” and lists his queer heroes who helped him get to where he is, while also looking forward to what the future holds for the LGBTQ community.

2015 - Body was Made : Ezra Furman - Ezra says this “is a protest song against the people and forces that would make me ashamed of my body, my gender and my sexuality.” This song’s message is taking ownership of your own body and identity, and not letting anybody else interfere with that. Furman identifies as trans and bisexual, and uses he/him and she/her pronouns

2015 - No Place in Heaven : MIKA - He’s singing about how there’s no place in heaven for gay people. “Father, won’t you forgive me for my sins? Father, if there’s a heaven let me in”

2015 - Girls Like Girls : Hayley Kiyoko - This was Hayley’s unofficial coming out as a lesbian and in this song she sings that “Girls like girls like boys do, nothing new” The video has some images of violence as a boy is angry that his girlfriend likes girls, but in the end the lesbians win.

2015 - Cool for the Summer : Demi Levato - She is curious and has a woman she’s gonna spend the summer exploring with. “Got a taste for the cherry and I just need to take a bite.”

2015 – Run Away with Me : Carly Rae Jepson - Carly Rae sings about getting away with someone for the weekend. Whether it’s just that your schedules have kept you busy or you have to keep this secret (“I’ll be your sinner in secret”), it’s very romantic. Oh, and lack of gendered pronouns makes it even more relatable to the queer community.

2015 - Alive : Sia - The song is about someone who had a tough life, but says “I’m still breathing, I’m alive.” It is the personification of resilience and perseverance.

2015 - Youth : Troye Sivan - It’s a really beautiful song about giving the best years of yourself to someone you love. The video features gay couples.

2015 - Genghis Khan : Mike Snow - This video surprised me the first time I saw it. A James Bond-type hero & villain fall for each other.

2016 - Unstoppable : Sia - Instead of just surviving, Sia is going to prove to people that she’s going to succeed. And like her, this song helps us put our armor on so we also feel strong and get through the day and smash through barricades.

2016 - Secret Love Song : Little Mix - Secret Love Song could be heard as being about the struggles faced by LGBTQ people when coming to terms with their sexuality and showing affection in public. I especially like the Secret Love Song, Part II version as the video makes clear the LGBTQ meaning.

2016 – Formation : Beyoncé – At the GLAAAD Media Awards, Beyoncé used the lyrics from this Black-power anthem to advocate for gay rights when she said “LGBTQIA rights are human rights. To choose who you love is your human right. How you identify and see yourself is your human right. Who you make love to and take that ass to Red Lobster is your human right,”

2016 - Son of a Preacher Man : Tom Goss - This 1968 song gets a surprising gay update. The video tells the story of two gay teens struggling to understand their sexuality and feelings for one another while operating within the confines of an evangelical church.

2016 - Boyfriend : Tegan and Sara - This song tells the exhausting story of someone you’re basically dating, but they won’t come out in the open and admit it because they’re scared, confused, and insecure about their sexuality. “I don’t wanna be your secret anymore.”

2016 - I Am What I Am : Ginger Minj - This song is from a Broadway show about drag queens. The message is you only get one life so take your shots, whether or not they succeed, it’s better to live your life authentically as who you are. And I love this video featuring Drag Queens from RuPaul’s Drag Race.

2016 - The Greatest : Sia - Dedicated to the LGBTQ community in the wake of the Pulse shooting, Sia begs us to not give up and to still follow our dreams. The video features 49 dancers, one for each victim of the shooting. The song celebrates the spirit of being defiant and trying to be the best you can be in the face of adversity, which is something the LGBTQ community have managed to do for many decades. Yet despite the uplifting, catchy music and lyrics, there’s also a sense of tragedy about how that spirit and potential came to an abrupt end for the victims of the shooting.

2016 - G.D.M.M.L. Grls : Tyler Glenn - Despite the best efforts by this gay man to make church work, it didn’t work out because God Didn’t Make Me Like Girls.

2016 - Heaven : Troye Sivan feat. Betty Who - Troye sings candidly about what it’s like for a religious teenager to come out as gay. “Without losing a piece of me, how do I get to heaven? Without changing a part of me, how do I get to heaven? All my time is wasted, feeling like my heart’s mistaken, oh, so if I’m losing a piece of me, maybe I don’t want heaven?” Troye explains “When I first started to realise that I might be gay, I had to ask myself all these questions—these really really terrifying questions. Am I ever going to find someone? Am I ever going to be able to have a family? If there is a God, does that God hate? If there is a heaven, am I ever going to make it to heaven?” The video features footage from LGBTQ protests throughout history.

2016 - Devil : Tyler Glenn - A song that highlights the conflict between religious belief and queerness. “I found myself when I lost my faith” and not being able to “pray the gay away.” The constant in his world, what he’s anchoring himself to, is that his mom still loves him, and I love that because studies show the acceptance & love of a parent makes a huge difference when someone comes out.

2016 - Midnight : Tyler Glenn - The Neon Trees frontman gives an emotional song about his departure from the Mormon church, but not from God. The ballad is accompanied by a video that shows Glenn removing his religious garments and replacing them with a glittering jacket.

2016 – I Know a Place : MUNA – This is a song of safety & nonviolence, which is important to the LGBTQ community as there’s many times we don’t feel safe being open about who we are and who we love. All three members of MUNA are queer. This song came out around the time of the Pulse nightclub shooting in Orlando which shattered that feeling of safety people thought they had in queer bars, clubs and spaces where we don’t have to hide who we are and should be free to be ourselves.

2016 - Boys Will Be Boys : Benny - The phrase “Boys will be boys” is typically used to excuse toxic masculinity, but this song turns it on its head. Benny wants “boys will be boys” to mean each person is different and doesn’t need to follow specific gender roles. Whatever a boy is, that’s what a boy will be.

2017 - Believer : Imagine Dragons - The adversity you come across in life is what helps you grow to become a “believer” in yourself. "Oh let the bullets fly, oh let them rain / My life, my love, my drive, it came from / Pain / You made me a, you made me a believer, believer." This song was being written around the time of the election of Donald Trump, and one of the co-writers, Justin Tranter, expressed fear about the future. This song is the result--speak our truth no matter what comes our way.

2017 - You Will Be Found : Ben Platt - This song from Dear Evan Hansen means a lot to me. There’s a gay teen who says this is our song because I found him when he most needed help. But for everyone, this song is hopeful that when you need it, someone will be there for you.

2017 - Symphony : Clean Bandit - As a musician, I really like the imagery of the lyrics--Before all I heard was silence by now with you I’m hearing symphonies, “And now your song is on repeat, and I’m dancin’ on to your heartbeat. And when you’re gone, I feel incomplete.” The video shows a loving queer black couple torn apart by catastrophe and a reminder that music & art are a way for us to deal with grief and celebrate our loved ones.

2017 - 1-800-273-8255 : Logic - This is a song about a closeted guy who is suicidal and calls a help line. The operator wants him to be alive and helps save him in that moment.

2017 - Bad Liar : Selena Gomez - The video portrays a love triangle (with each character played by Selena)–a curious high school student, seductive gym coach and a male teacher. Towards the end of the video, the high school student sings the line, “With my feelings on fire, guess I’m a bad liar,” as she looks at a photo of the gym teacher. It’s a scene that shows the fear & bravery of acknowledging and declaring our sexuality—a moment many queer people know

2017 - Love is Love is Love : LeeAnn Rimes - This song celebrates the LGBTQ community. Rimes said that “A ‘Pride’ celebration is a living thing. It is breathing authenticity. It’s a space we hold for one another, a place to come into what our souls move us to be, it’s a place in love and only love,” adding “That’s why the LGBTQ community continues to inspire me and enliven my spirit every time I perform for them.”

2017 - Swish Swish : Katy Perry - A song about fighting against bullies, “Swish Swish” uses basketball metaphors to talk about overcoming hateful people and thriving. That’s a theme that LGBTQ+ people can identify with.

2017 - If They Only Knew : Alfie Arcuri - The song is of a previous relationship where Arcuri’s ex-partner’s parents didn’t know he was gay. Arcuri explained “We were together for a couple of years and half way through the relationship he came out. The song is almost like a diary entry for me telling his parents how innocent our love and relationship was because to them I was like the devil who turned their son gay. It wasn’t like that at all though, it was a beautiful love.” The video is a short film that shows one guy in the closet and his friend helping him see it’s okay to be gay.

2017 - Power : Little Mix - Willam, Alaska and Courtney Act from RuPaul’s Drag Race are featured in this video. The song is about gender politics in a relationship.

2017 - Cut to the Feeling : Carly Rae Jepson - This is a song about liking someone and wanting to skip past all the awkward introductions and just get to the feelings where they’re being real with each other, dancing together and celebrating love. That already works as a queer song, and then add to it this viral video by Mark Kanemura. When she played at a Pride celebration, Carly Rae had Mark reenact his dance to the song

2017 - The Village : Wrabel - Just because transphobia is common, it doesn’t mean it is right or that you are wrong. There’s a line in the song that hits me hard, “One line in the Bible isn’t worth a life.” And the video is beautiful, very poignant and it breaks my heart and gives me hope.

2017 - Heaven : State of Sound - A remake of the 1984 Bryan Adams song which was a standard love song of a boy and a girl. However, there were no gendered pronouns in the song and State of Sound’s video shows it works just as well for all sorts of queer couples

2017 - Bad at Love : Halsey - Halsey flips through all the guys and girls she’s dated in an attempt to understand why she hasn’t yet found love. Queen of bisexual relatability!

2017 - Feelings : Hayley Kiyoko - This song is about having a crush on someone. The video has Hayley chasing after a girl

2017 - This is Me : Keala Settle - The song from The Greatest Showman sings of resilience in the face of hardship — which, after all, is what Pride is all about. “Another round of bullets hits my skin. Well, fire away ’cause today, I won’t let the shame sink in”

2017 - HIM : Sam Smith - This is a song about a boy in Mississippi coming out and the conflict between his sexuality and his religious upbringing and how he is grappling with the feeling that there’s no place in religion for him because he’s gay. And the “Him” being sung is used both for God and for a boy he likes.

2017 - A Million Dreams : P!nk - this song from The Greatest Showman is about the power of positive thinking, faith and believing in your dreams. For queer people, it’s a reminder that we are building a better world.

2017 - This is Me : Kesha - A great cover of the song from The Greatest Showman.

2018 - My My My! : Troye Sivan - Troye said “'My My My!’ is a song of liberation, freedom, and love. “Throw all inhibition to the wind, be present in your body, love wholeheartedly, move the way you’ve always wanted to, and dance the way you feel”

2018 - Curious : Hayley Kiyoko - “Curious” is a term used in the LGBTQ community to express same-sex experimentation. In the song Hayley uses it to ask, “I’m just curious, is it serious?” Hayley says she wrote the song about a past relationship with a closeted woman, as well as various romantic experiences with women who were unsure about their sexuality

2018 - Perfect : Alex G - This cover of the Ed Sheeran song is beautiful. And because Alex doesn’t change the pronouns, it’s a very sweet lesbian love song.

2018 - Only You : Cheat Codes & Little Mix - A video with a lesbian mermaid? Yes, please!

2018 - Make Me Feel : Janelle Monáe - Sexuality is simply how a person makes you feel, regardless of gender. The music video for ”Make Me Feel” features Janelle crawling between women’s legs and grinding up on both a male and female love interest under bisexual lighting.

2018 - Sanctify : Years & Years - This song is about a relationship the singer had with a straight man. “On the one hand, the guy is struggling with his sexuality and feeling unable to express himself as anything other than straight while also desiring me. I’m on the other side feeling like both a sinner and saint or a devil and angel, leading this guy down a path of ‘sinfulness’ while, at the same time, helping him explore his sexuality.“

2018 - Kiss the Boy : Keiynan Lonsdale - While he doesn’t ascribe to a specific label in terms of his sexuality, Keiynan is openly attracted to both genders – and in Love, Simon, he played the enigmatic Blue, love interest of Simon. The video is adorable & super-inclusive

2018 - Never Been In Love : Will Jay - It’s such a great bop and I have loved Will Jay since his IM5 days, and this seems perfect for my ace/aro friends. “I’m not missing out so don’t ask me again. Thanks for your concern, but here’s the thing, I’ve never been in love and it’s all good”

2018 - PYNK : Janelle Monáe - Monáe says the color pink “unites all of humanity” because it is the color “found in the deepest and darkest nooks and crannies of humans everywhere.” The video finds Monáe and Tessa Thompson (her girlfriend at the time) along with a group of other women dancing in a desert, having a slumber party and sitting out by a pool while expressing appreciation for the vagina, including some iconic pussy pants. Truly a testament to the power of pink.

2018 - High Hopes : Panic! At the Disco - Brendon Urie says the uplifting message of “High Hopes” is “No matter how hard your dreams seem, keep going.” The lyrics say “It's uphill for oddities,” which is how it can feel being queer in a heteronormative world, but “don't give up, it's a little complicated.” It’s complicated but doable. Urie created the Highest Hopes Foundation, an organization that assists nonprofit organizations in human rights efforts across the globe. “I want to join in on the fight for those who cannot fight for themselves. This is dedicated to all people and communities who are subject to discrimination or abuse on the basis of gender, race, religion, sexual orientation and gender identity.” The foundation donated $1 million dollars to Gay, Lesbian & Straight Education Network (GLSEN) to establish Gay-Straight Alliance clubs at high schools across the United States.

2018 - All Things : Betty Who - This is the theme song for the wildly popular Netflix show Queer Eye.

2018 - Dance to This : Troye Sivan (feat. Ariana Grande) - According to Sivan, the song is about “that moment when you feel like you’ve been to enough house parties or events, and staying home, making out in the kitchen and cooking dinner sounds like a much, much better alternative”

2018 – Boys : Lizzo – Lizzo sings a song about all the boys she loves, and plenty of gay boys sing along and cheer when reaching the lyrics “From the playboys to the gay boys. Go and slay, boys, you my fave boys”

2018 - Promises : Calvin Harris, Sam Smith - The music video is a glittery homage to vogueing and drag ballroom culture.

2018 - Bloom : Troye Sivan - Our first mainstream pop song about bottoming. This song is a thinly veiled description of Troye losing his virginity “I bloom, I bloom, just for you.” Or maybe it’s just about flowers.

2018 - No Matter What : Calum Scott - This is a lovely song about a son coming out to his mom and her responding that she loves him no matter what. “I just want you to be happy and always be who you are.” She wrapped her arms around me, said, "Don’t try to be what you’re not ‘cause I love you no matter what”

2018 - Old Town Road : Lil Nas X ft. Billy Ray Cyrus - Lil Nas had the biggest hit song ever and came out as gay, and now his choice in cowboy apparel makes sense

2019 - Juice : Lizzo - Lizzo’s message of radical self-love that celebrates the beauty of being different has earned her a huge queer following. Her work is inspired by the difficulty she felt growing up in a world that told her that she did not fit in. She now spreads a message of acceptance and love. “Juice,” is upbeat and fun, full of confidence-boosting lyrics. She made a video for “Juice,” featuring Drag Race alumni.

2019 - Rainbow : Kacey Musgrave - The song is about hope that the bad times will one day be over. Musgraves hopes it will serve as an anthem for those facing adversity, particularly in the LGBTQ community. “I feel a kinship and a friendship with that community. They really opened my eyes up to a lot of different things that I wasn’t aware of growing up in a small town in Texas. I will always be an ally and a strong supporter. ‘Rainbow’ is something that I can dedicate to that community, but also to anyone who has any kind of a weight on their shoulders."

2019 - ME! : Taylor Swift (feat. Brandon Urie) - This is a campy, bubbly song about embracing one’s individuality. "I’m the only one of me and that’s the fun of me.”

2019 - Nails, Hair, Hips, Heels : Todrick Hall - A fun song and video about being who you are and using that to strut and slay

2019 - Love Yourself : Sufjan Stevens - The lyrics are asking us to love ourselves and to show the reasons we believe in ourselves. I especially like this imagery “Make a shelf. Put all the things on that you believe in.” This song was specifically released for Pride month.

2019 - You Need to Calm Down : Taylor Swift - an entire verse that’s literally about going to a Pride parade. The video features a large number of celebrity cameos, many of whom are LGBTQ, including Queer Eye's Fab Five, figure skater Adam Rippon, singer Adam Lambert, television personality Ellen DeGeneres, entertainers Billy Porter and RuPaul, and numerous Drag Queens from RuPaul's Drag Race who in the video impersonate famous women.

2019 - Higher Love : Kygo & Whitney Houston - Whitney recorded a cover of the Steve Winwood song “Higher Love,” but only released it in Japan. The Houston estate selected the DJ Kygo to remix Whitney’s version of the song. Kygo embued it with all the EDM sounds you’d expect from a 2019 dance song and debuted the song at Pride in New York City

2019 - American Boy : Years & Years - A cover of the Kanye & Estelle song, sung by Olly Alexander, a gay man, who is the lead singer for the band Years & Years. With Olly singing, this makes the song about one guy crushing on another guy

2019 - Tiny Love : MIKA - Mika said that he wanted to capture the idea that love can feel enormous, "yet at the same time it’s so tiny and imperceivable to others.” True love is not “a sunrise over canyons shaped like hearts,” or “bursting into song in Central Park.” Rather, it’s “a ‘still-there-Monday-morning’ kind of love.”

2019 - I Rise : Madonna - This song was made specifically to honor the 50th anniversary of the Stonewall riots, and to inspire marginalized people to stand up and fight. It is about resilience, of surviving and rising up from adversity. The video includes footage of Parkland H.S. shooting survivors, LGBTQ supporters, women’s rights protesters, Olympic gymnast Aly Raisman’s testimony about sexual abuse and other social justice movements

2019 - I Feel Love : Sam Smith - Sam remakes the 1977 classic from Donna Summer, a song about loving your body and your desires. The high notes on this song are so exciting

2019 - Show Yourself : Idina Menzel, Evan Rachel Wood - This song from Frozen 2 is about Elsa being ready to be vulnerable and bare her soul. This song has been adopted by the queer community as a coming out anthem.

2019 - Believe : Adam Lambert - A remake of the 1998 song by Cher that is embraced by many LGBTQ people, and it’s absolutely gorgeous

2020 - I’m Ready (with Demi Lovato) : Sam Smith - The song is about being ready for a new love. The video is basically the Glam Olympics

#PRIDE playlist

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theseerasures · 3 years

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Conspicuous Media Consumption, 2020

it’s that time of year again! *saddest toot from the party horn*

for those of you just joining us: it’s a “consume a different content every week for 48 weeks of the year” challenge. for a longer explanation, check out last year’s write-up here, and as always, feel free to pop in and ask questions about any and all of this content.

(same disclaimer as last year too: content for this project ONLY here, and not certain...*looks at my billion Sad Cop Lady posts*...hyperfixations.)

(man remember when i was big into X-Men comics earlier this year? better times than these, if only because no one's discoursing about Emma Frost’s woobie/war criminal ratio anymore--her w/w, if you will)

(...i swear at one point i didn’t exclusively like platinum blondes but alas)

Bitter Root (comic, 1 issue finished 1/1/2020): still very cool on a basic concept level, but runs into the Image Comics problem of just not having enough content to keep my interest beyond that. part of that is on me, for picking it up again BEFORE the second arc rolled out, but the first five issues didn’t really follow (or resolve) any cohesive story either, so...meh.

Immortal Hulk (comic, 3 trades finished 1/17/2020): still not gonna be something i care deeply about (maybe one of Bruce’s Hulksonas dyed his hair???), but i do want to give kudos to Al Ewing for sheer consistency in terms of sustaining this level of quality storytelling month by month for more than two years now. working with the dense archive of the Hulk mythos and managing to make it interesting and thoughtful is impressive even if i personally would not expend the same effort.

Disco Elysium (game, finished 1/18/2020): honestly i should have twigged onto what this year was gonna be like when the third thing i drew from the barrel was pure uncut Eastern European flavored depression. i faintly recall people ragging on it for being pretentiously cynical, but i actually thought its core slid more towards idealism than people give it credit for. also gratified that i haven’t heard anything about Robert Kurvitz using slave labor to finish it, which is a thing we have to say about our video games now!!! fun.

Watchmen (TV, 7 episodes finished 1/27/2020): i am a fool who wants to believe in Damon Lindelof and I WAS RIGHT!!! honestly still cannot believe that he pulled off this highwire act with such deft aplomb. might be my favorite TV this year, which is a pretty high bar given how much TV i ended up watching.

On a Sunbeam (comic, finished 2/1/2020): Tillie Walden rightly deserves all the praise for inventive queer storytelling, but i will say that on reread--since i first read this as a webcomic--there ARE some issues with pacing here that clearly come from the foibles of its original intended medium. still just excellent, even if after some plot significant haircuts i was having trouble telling a few folks apart.

Lazarus (comic, 1 trade finished 2/8/2020): it’s so good and i want moooooorrrreee--though obviously Rucka and Lark have the right to take all the time they need. the newer longer issues work really well with the epic prestige drama vibes of the story! i’m into it.

The Good Place (TV, 4 seasons finished 2/18/2020): i’m gonna be super honest: i actually wasn’t a big fan of the finale, nor the last season as a whole. it felt like all of Eleanor’s flaws vanished for a majority of the season, and the Chidi-centric episode where they tried to give a legible justification for why he’s Like This was...i didn’t care for it. still, it’s so good and unique on the WHOLE that we’ll literally never get anything like this ever again, and that counts for a lot.

The Old Republic (game, finished 2/21/2020): it’s an MMO so it will never actually Be Finished so long as the servers aren’t shut down, but i caught up on the content i’d missed in the intervening months. Onslaught thus far has mostly been...kinda bland tbh; going back to Imps vs. Rebs after all the shakeups in the previous expansions feels like a waste.

High Road (album, finished 2/22/2020): someone should tell Kesha not to say that word!! otherwise i was very happy with this album, and happy FOR her even though we don’t know each other. being able to find joy again in the same genre of music you made while you were being horrifically exploited is very cool.

Young Justice (TV, 13 episodes finished 2/28/2020): given how much the middle stuff dragged--STOP KILLING YOUR HIJABI CHARACTER IN HORRIFIC WAYS--i was...actually kinda mad by how the end managed to stick the landing anyway. the day being saved by Vic’s self-acceptance and Violet’s sublime compassion was A+, and even the Brion/Tara switchup was a pleasant surprise, though it relied on me caring about Brion MUCH MORE than i actually did.

Manic (album, finished 2/29/2020): do people still care for/about Halsey? i feel like even That One Song that was on every tumblr gifset ever has kinda faded into obscurity at this point. this album was...okay. i feel like people give Halsey a pass for extremely obvious lyrical turns that they wouldn’t for other folks because of her subject material--which is fine. not really my cup of tea, but i also listened to lots of Relient K this year, so that’s probably a good thing.

Jade Empire (game, 3/10/2020): the only 3D-era Bioware game that didn’t franchise out, and for good fucking reason!!! the Orientalism and appropriation really haven’t aged well, and even beyond that the story was...standard Bioware faire. even my usual “my wife’s a bitch i love her” Bioware type didn’t do it for me, and i just ended up romancing no one. it did make me think a lot about what level of cultural borrowing is accepted nowadays, and why: people still look fondly at Avatar and talk about how ~accurate and respectful it was, for example, despite it being staffed almost entirely by white folks, and the Orientalism ALL OVER the monk class in DND is still fine for some reason.

Alif the Unseen (book, finished 3/31/2020): interesting to have read this AFTER reading The Bird King last year, because it highlights how the intervening years have shifted G. Willow Wilson’s thematic interest and improved her craft. i’m actually quite fond of how her characterization work is rougher here--Alif is extremely flawed to the point of being insufferable, but it makes his development by the end more satisfying. Dina is also just good and i love her

Baldur’s Gate (2 games, finished 5/31/2020): well, having finally finished the series i’m happy to say that it...still doesn’t really do it for me, sorry. any awesome story moments were overshadowed by the EXCRUCIATING inventory management system and the combat (i still don’t know what a THAC0 is and at this point i’m afraid to find out). these games crucially lack the Home Base that later Bioware games were so good about, and that (coupled with the huge cast of characters you can drop off and never see again) really hurts the intimacy for me. by the time we finally did get one it was the Hell Dimension in Throne of Bhaal, and i was just...trying to get through it. (yes, i did just say that about one of the most beloved expansions ever to one of the most beloved games ever.) THIS particular iteration of “my wife’s a bitch i love her” was very good, but the game wouldn’t let me romance her :(

The Underground Railroad (book, finished 6/19/2020): honestly what is there even left to say at this point! it was exactly as good as every critic on the planet said it was, even with my usual aversion to hype. draining and horrifying in turns but still insistent upon a future for Black folks.

Steven Universe (6 seasons and a mooooooviiieeee, finished 7/11/2020): yes, i DID finish the show and almost immediately begin a rewatch. this series is now one of my top five most formative things, and the amount of love and respect i have for it is incalculable. that said: i once again did not love how the central conflict of Future was resolved (just the resolution--i loved the finale just fine). for all of Steven’s breakdown was built up, resolving it with “EVERYONE HUG HIM UNTIL HE CRIES” felt...cheap, especially since up until this point the show had been so good about treating trauma and mental illness with the respect and nuance it deserves. it made me wish some of the earlier, less substantial episodes had been cut so we could spend more time at the end.

What It Is (comic, finished 8/19/2020): y’all i love Lynda Barry SO MUCH. for the longest time i was worried that One Hundred Demons was more a lightning in a bottle situation but every book of hers i pick up makes me feel obscure emotions i didn’t even realize existed. the compassionate way she’s able to describe her child self and how weird and fucked up she was (and still is) is honestly aspirational.

She-Ra and the Princesses of Power (TV, 5 seasons finished 9/26/2020): so here’s a reversal of what i’ve been complaining about with other shows: i was mostly lukewarm-to-warm about She-Ra, but the later seasons and the finale made me much more into it as a whole. more shows should improve in stakes and overall quality as they age tbh!! i still don’t actively love Catradora (my sole quibble with season 5 actually has to do with the way Adora kept backsliding as a character to make certain Plot/Relationship things happen), but i’m very happy for them nonetheless. i can certainly appreciate a show that will go for High Feeling over tight plot. dark horse standout moments: trees growing everywhere proving that Perfuma Was Right, and Hordak and Adora seeing each other--that weirdly intimate moment of recognition.

Fetch the Bolt Cutters (album, finished 10/7/2020): again i find myself not having much to say that no one else has said. it’s good! once again love it when an artist reclaims something they’d attached with negative affect (anxiety, depression, disordered eating) for better and brighter things.

Solutions and Other Problems (comic, finished 10/25/2020): i was very into Allie Brosh’s ambition with this book, which feels weird to say but i stand by it. it’s cool to see an artist try to make a new medium work for them instead of just sticking to what already works. not all the experimentation was 100% effective, but it was still delightful and occasionally devastating to read, so.

Legend of Zelda (3 games: Ocarina of Time, Majora’s Mask, Link Between Worlds, finished 11/1/2020): this was the third time i’d played Ocarina of Time, which made it the nice, comforting groove i settled into before Majora’s Mask blatted me in the face. i’m not usually a completionist Zelda person because...the gameplay in Zelda is bad, do not at me it just is, but i really felt like i HAD to be one for Majora’s Mask since the whole point is to get attached to the banalities of the town. i’m sure nobody’s surprised that i loved it, even if it gave me an existential crisis about how life goes on in the game for NPCs when you’re not there to save them from it, and there’s not enough time to save them all all the time (also not a surprise to anyone: Romani and Cremia gave Personal Feelings). Link Between Worlds...bad. not like in a “this is a bad story by every measurable gauge” way, but i was already struggling with the 2D playstyle shift enough that for the whole story to end with some “yes it’s v sad that Lorule is Like This but trying to steal Hyrule’s privilege is Even Worse Actually” noblesse oblige bullshit left a VERY poor taste in my mouth, this year of all years. i did audibly gasp when Ravio took off his mask, though. i’m currently playing Breath of the Wild in cautious increments; it’s the first time i’ve enjoyed early Zelda gameplay, but if they wanted fully voiced cutscenes i wish they got voice actors who...knew what words sound like.

folklore (album, finished 11/6/2020): my belief that Taylor Swift is Just Fine continues, i’m afraid. i LIKED this album, don’t get me wrong, and respect her constant drive to innovate, but i didn’t love it substantially more or less than any other Taylor Swift album. mostly i’m just tickled by how she thinks leaning into the indie aesthetic means borrowing Vita Sackville-West’s entire wardrobe, though i will admit to feeling Something when she swore in a song. i think it was like. savage vindication?? you go ahead and swear, Taylor Swift. you deserve it.

Shore (album, finished 11/19/2020): do people still care about the Fleet Foxes? i think there was some Drama with Josh Tillman a while back but i don’t remember where the discourse landed with who was being more problematic. it was nostalgic for me to listen to their new album--made me remember being an undergrad who exclusively listened to men who mumbled and played acoustic guitar all over again.

Star Wars (3 movies: original trilogy, finished 11/27/2020): there is So Much bad Star Wars these days that every time i rewatch the original trilogy i’m afraid that they will suddenly be bad, but guess what! they’re not. i love these children and their hot mess stories, i love that Lando doesn’t know how to say his best friend’s name. what stood out to me this time was the way Obi-Wan described the Force in A New Hope, which strongly implied that ANYONE can be Force Sensitive; that obviously faded with each subsequent movie, but part of me does wish they’d kept it.

X of Swords (comics, 22 issues finished 12/5/2020): i am enjoying Hickman’s X-lines!!! not so much here for the Grand Conspiracy or whatever, but the character work and highkey weirdness is fabulous--they FEEL like X-Men, despite all the shakeups in-universe. this crossover is a nice microcosm of all that: grandiloquently all over the place, but still full of cool standout moments and genuine hilarity. ILLYANA DOESN’T KNOW HOW TO SPELL MAGIC.

Fire Emblem (4 games: Sacred Stones, Path of Radiance, Radiant Dawn, Awakening, finished 12/14/2020): this was the thing that i was closest to giving up early on, but i ended up hyperfixating on it instead. that’s a credit to what the gameplay does to my lizard brain more than anything else, because the story and character writing is...insipid. it was very bizarre to witness this franchise blunder around with its animal-people racism allegory around the same time i was getting back into RWBY, and ITS animal-people racism allegory blunders. Awakening was the first time i felt anything for the franchise beyond “teehee red units disappear make exp bar go up and brain go ding,” so i’m excited for more mature storytelling in subsequent games (they MUST get better. they MUST). the child husbandry thing is...very bad tho, and Apotheosis being “challenging” entirely through the game changing all the rules is also bad.

once again no vidya games that came out this year--i’ll probably pick up Spiritfarer or Hades after the New Year, though (or maybe TLOU II! but probably not. sry Laura and Ashley). more TV and franchises this year, which made me feel In Touch with the Children but was also kinda exhausting. nothing was so egregiously terrible i dropped it without finishing! in a year like this that feels almost like an accomplishment

#conspicuous media consumption

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prismatic-bell · 5 years

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So I was thinking at work, and you know what Disney should have done if they insisted on remaking Beauty and the Beast? They could have solved two major problems from the first movie in one fell swoop.

First, let’s identify the problems. First, there are only three (named) women in the original BatB movie: Belle, Fifi (Lumiere’s girlfriend, who has a different name in literally every single adaptation), and Mrs. Potts. Or, if you want to be blunt about it: The virgin, the whore, and the mother. Thaaaaaaaat’s not just a whole bunch of unfortunate stereotypes right there, not at all. (There is one more woman, but she’s unnamed: the wardrobe. Apparently in development her name was Madame Armoire, so that’s what I’m calling her.)

Next: Lefou. He was an awful gay-stereotype lackey in the original and he became an awful gay lackey in the remake. Note that I actually like Lefou--I think he’s an incredibly fun character--but that execution, in 2018? Nah, fam.

And how would I fix both of these?

Very simple.

Make Lefou a girl.

With some minor plot changes.

Bear with me a minute here. So we start out with Mademoiselle Lefou following Gaston into frame, right, just like the original. But this Lefou is wearing clothes that are way too big; her hair is chopped short and ragged. It becomes obvious from the way she acts and speaks that her giant not-exactly-a-dress is an old shirt of Gaston’s, and the hair is a self-administered hack job. This Lefou, like Belle, is sort of a town joke--it’s only Gaston’s apparent goodwill that keeps her able to remain in town at all, and the reason for her off-kilter, tomboyish look pretty quickly becomes apparent when Gaston says he intends to marry Belle: Lefou protests, and then quickly goes sad and wistful when Gaston says he deserves the best. Lefou might be kidding the town (and herself) with her overblown Gaston-crush, but she’s not fooling us.

Now, I’m a fan of the stage version, so we’re going to borrow from it just a tad here. There’s a song that isn’t in the movie called “Les Maison des Lunes,” and it’s basically the scene where Gaston gets in cahoots with the owner of the asylum, only awesome. (Listen, it’s a great song.) We’re borrowing that. But instead of Lefou gleefully going along, as the song goes on, Lefou starts to realize just exactly what she’s agreeing to, culminating in a line where, in reply to Gaston saying “she’ll be my bride,” Lefou replies “she’d rather die” and quickly covers it up with a rhyme. Maybe she’s just realized she’s turning against a fellow outcast; maybe it’s occurred to her that she, too, will be tossed aside in some terrible fashion when Gaston no longer has a use for her. It doesn’t matter. Blocking and voice tone show she is, at most, now a very reluctant ally to Gaston’s cause.

Lefou is still reluctant to watch the house for Belle and Maurice to return, no longer because she’s “missing out on the action” but because doing so means facilitating a plan she’s no longer on board with. As The Mob Song approaches, Lefou observes how Belle talks about the Beast, and we see her looking between Belle, Gaston, and her own reflection in a hanging pan with increasing horror; she’s not in love with Gaston, and never was. All she was in love with was an ideal that’s suddenly been shown horrifically wrong. All she has to do to know it is to look at Belle’s face; that’s love, right there.

And so Lefou tries to pull away from Gaston as the march to the castle begins, but she’s dragged along--so she tosses Belle the cellar key, or, if we’re going with the animated “Chip did it” version, perhaps she’s the one who kicks out the blocks from under the wood-chopping machine in the hopes it’ll crash out the window.

(I’m also in favor of girl!Chip, by the way. There are even some schools that already do it that way because of a lack of boys for the cast.)

And so, the melee in the castle, there’s one big change: Lefou quickly realizes this is her chance to make up for the harm she’s caused, and starts wreaking holy hell. Gaston’s crossbow (which he carries but then never uses)? “Accidentally” burned when she just fucking yeets it right at the sentient cookstove. Random approaching villagers trying to take the stairs? Bowled over by a living bust Lefou offers a good rolling start. The doors finally slammed? Yep, she’s there, slumping down amid a group of highly suspicious household objects all out of breath until she asks one very important question: “Where’d Gaston go?”

Now at this point you may be thinking okay, Lefou was the shittiest queer representation ever, but he was representation, and I’ve just swapped out a gay man for a lesbian, which is very much not the same thing. No problem, my friends, because remember the feather duster whose entire role is “be slutty to the point even her name doesn’t matter”?

The feather duster is now a very charming wineglass who, in human form, is a footman. (Or valet, if you prefer the term, although a footman is more likely to make sense as a wineglass and if we’re going deep into the lore, would also be more frequently in contact with Lumiere, the maitre’d.) Given that everyone else has horrifically on-the-nose puns for names, let’s call him Duvin.

(If you’re going to scream about historical inaccuracy because I made the singing candelabra queer, we’re gonna have some words about what your real problem is.) Now if you must have “Human Again” in your Beauty and the Beast--and let me state here that I hate it in the musical and hate even more that they put it back in the animated version when the original reason for removing it was that it makes no fucking sense--this does raise a bit of a problem with Lumiere’s lines, in which he says he had “a mademoiselle on each arm” and Mrs. Potts suggests his return to humanity “should cause several husbands alarm.” But might I suggest, if we’re doing this and doing it right, let’s give the wineglass a greater role than poor Fifi/Babette/Plumette did, make him gay, and go right on ahead and let Lumiere be the giant flaming (not sorry) bisexual flirt he really should have been in the first place, and change the lyrics to “a dashing young thing on each arm” and “should cause several spouses alarm.” Other than the fact that we’re including it at all, that fixes all problems with Human Again.

(If you object to me removing a female character here even though I’ve added two via Lefou and Chip and liberated a third by giving Madame Armoire back her original name and bigger role, I can fix that too. There is absolutely nothing in the lore that prevents the cookstove from being a chick. You could also make Belle’s bed canopy sentient and have her turn back into a maid. Or give that violin-playing hatstand a female role. I’m deeply in favor of the hatstand being Cogsworth’s long-suffering sister. There are many options.)

But let’s get back to the end of the movie, shall we, since I just left the Beast about to be deadified and Lefou collapsed in the hallway and Gaston alive, and none of these are a satisfactory turn of events.

Lefou’s dazed question sends those objects capable of going upstairs fleeing toward the West Wing, just in time to see the Beast fall and Belle’s fateful declaration. Yay! Lights! Flashing! Magic! The Beast is alive and is now a kind of pasty-looking dude who really had no right to call anybody else ugly! Let’s go down to the ballroom, everybody!

. . . . ready for it?

We’ve got Belle--who, without that unfortunate trio of named ladies, just becomes our heroine and, now, our princess. We have Mrs. Potts, the head maid, who very neatly pairs with Cogsworth as our dignified elder heads of the staff, and Chip, who’s The Kid. These are three different kinds of women--understated, professional, Literally A Kid.

And then we add our traditional femme via Madame Armoire . . . who comes in with a very dapper Lefou, proper vest and watch chain and everything. Lefou never stops being a hunter or butch or kind of goofy. It’s just she’s found her people.

(And Lumiere and Duvin both get to be equally courtly and not all stereotyped to death or the butt of any guy-in-a-dress jokes. Although if we must have some kind of clothing joke, I’m deeply in favor of “I had forgotten how very dashing you look in uniform.” “Ah. In uniform?” CUT AWAY AND NEVER MENTION AGAIN.)

THERE. GOOD QUEER REP. MORE WOMEN. NO MORE UNFORTUNATE THINGS WITH THE NAMED WOMEN.

Hire me, Disney.

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hms-chill · 4 years

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A Channel of Your Peace

Summary: Following Henry being outed, the election, and the end of the book, Henry and Philip slowly start to fix their relationship. There’s blood that can’t be unshed, but there’s also a chance that things could get better.

Chapter 1: Make Me an Instrument of Your Peace

Chapter 2: Where There is Hatred, Let Me Sow Love

Chapter 3: Where There is Offense, Let Me Bring Pardon

Alex arrives just before the state dinner, giving them only the time from Heathrow to Buckingham to really be alone. They make the most of it, a mix of making sure the other is actually alright and using their mouths for more exciting things. When they get close to Buckingham, Henry pulls back to fix Alex's hair before they have to step out of the car and into Henry's world. He's not thrilled to belong here, but Alex is by his side, both of them smiling as they walk into the palace and the dinner. It helps to know that Alex doesn't mind these events, especially when they're open to heads of global states. He may still roll his eyes a bit at someone called Basil or Dorian or Bartholomew, but he'll find an interesting conversation somewhere. There's a good chance he'll spend that night telling Henry what he's learned about the differences between American and French immigration law or what steps queer activists are taking in Italy. He thrives here in a way Henry never has, and Henry's just glad to know he'll be happy enough, and that he's not dragging Alex to somewhere he'll be miserable.

They sit beside each other for dinner, even if they're in different conversations, but they drift a bit as they're sharing drinks and finger foods with guests afterward. Henry sees Alex talking to someone he thinks might be a diplomat from South Africa, and Alex looks happy and engaged. He's stuck as a third wheel in a conversation between politicians from Scotland and Finland, smiling and nodding without actually contributing anything, when he feels a hand on his shoulder and turns to see Martha. She looks a bit pale, but she's smiling.

"Henry, darling, could I borrow you a moment?"

"Of course. If you two gentlemen will excuse me." He's not even sure they notice as he takes a few steps away, smiling at Martha as she leads him to an emptier corner of the room. "Thank you so much. How are you feeling? How was the trip from Anmer?"

"I'm alright, and the trip went well. And this doesn't have to take too long, if you'd like to go find Alex or talk to someone else, but I just wanted to ask you something, and I'm not sure I'll have a chance before I go back tomorrow. It's... it's something Pip is too nervous to ask you or Bea, but he--" she stops, a hand on her stomach. She's at least a shade paler than she was a moment before.

"Are you alright?" Henry reaches out to take her arm, and she grabs his with an iron claw. There's a slight sheen of sweat peeking through her setting powder, and she takes what looks like a forced a deep breath before answering.

"I'm... I'm going to be sick." Her eyes dart toward the door at the front of the room, but Henry knows that's not the place to go. It opens into a wide hall and a series of entertaining rooms, and there is a toilet, but it's not a good toilet to be sick in. Bea had gone there with the flu once when they were growing up, and he remembers everyone at dinner trying to ignore it as the sounds of her being sick echoed around the empty rooms.

"Follow me." She looks worried as he guides her toward the back of the room, but he promises it'll be alright as he pushes open a small door and through a short maze of servant's quarters to the nearest private toilet. Between the insulation in the walls and the sheer number of turns they took to get here, any noise should be muffled.

Her grip on his arm has tightened, but she has her other hand over her mouth. Her eyes are wide over it, and she barely makes it to the toilet before a sludge of dinner comes back up. Henry kneels beside her, gathering her hair in one hand and texting Alex with his other. Philip won't check his phone, not at an event like this, but Alex will. Henry just hopes Alex will be on good enough terms with Philip to be able to get him here.

When the text is sent, Henry pulls Martha's hair into a loose braid and rubs her back gently until she's done being sick, then gets her a cup of water when she sits up. She looks like she's planning to go back to the dinner like nothing's happened, but she looks tired and she's still a bit pale, so Henry sits on the floor with his back against the wall and says, "let's just wait here for a bit, okay? Philip's... I texted Alex to get Philip, so he should be here soon."

She nods, sitting on the floor next to him and leaning back with a yawn. "I'm sorry. I've... I've just been so tired recently."

"Philip said you've been working a lot."

"Yes, well, that's sort of what I wanted to speak to you about. Pip and I, well. We... we've been thinking of opening a charity as well. It would be focused on helping military families, especially ones separated by overseas deployment. He... being gone while your father was ill was hard for him, even if he won't necessarily talk about it a lot. He wants to help keep families closer together, and try to find ways to keep them connected more even when deployment takes people away from the people they love, but he's afraid that you and Bea will be upset or think he's stealing your ideas. I've tried to tell him that I don't think you'll be upset, but he... I think he's just afraid to upset you both again."

"I don't think either of us could be upset about that; it's a great idea. I think Bea would, too, especially since we both saw how much being away while Dad was sick."

In the after-dinner mingling, Alex has just noticed Henry's missing when he feels his phone buzz. He manages to sneak a look, and when it's Henry, he slips to the edge of the room to actually read it.

He can barely believe he's doing this, but a minute later, he's fining Philip to ask, "your highness, could I have a minute?" Philip looks confused as he turns, but Alex says, "Martha's sick; Henry had to take her to a bathroom."

Philip is moving even before Alex is done telling him what's happening, turning to ask, "did he say where they are?"

So Alex has no choice but to follow him, shooting off a text to Henry asking where they are as he follows Philip out into a wide entrance room.

"I know the RAF is important to him, and he does really love it. He just... it was hard for him to be there instead of being able to grieve with all of you. So if he could put together something to fund flights home for members of the RAF who need to go home but can't afford it, or to fly families to visit people who are deployed, that--" she stops, a hand going to her mouth for a moment before the nausea seems to pass.

"If you were ill, you didn't have to come tonight. We would have understood," Henry says gently. Martha sighs, looking suddenly exhausted.

"I honestly felt fine. It's... I don't feel ill, not really. I'm tired, but then this nausea, it... it just comes out of nowhere. You saw; one moment I'm fine and the next, it's bad enough that I'll be sick."

"Have you considered seeing a doctor?"

Philip goes straight to a bathroom, but it's empty. Alex texts Henry again, asking where they are as Philip leads the way through a series of incredibly fancy, disappointingly empty bathrooms. He's starting to get more and more worried as they go, his shoulders tensing and his mouth tightening in an expression Alex recognizes from Henry's most stressed moments. By their fourth empty bathroom, Alex grabs him by the shoulders.

"Hey. Calm down; it's going to be alright. Take a deep breath. Yeah, that's good; take another. We'll find them. I promise." Philip takes another deep breath, finally meeting Alex's eyes. For a moment, he doesn't feel like the Philip who's hurt Henry and Bea so much over the past five years. He's just a scared person, and Alex knows all too well what it feels like to be so worried about someone he loves. After a bit, Alex says, "they wouldn't have come this far if Martha was going to throw up. Is there another way out of that room, or a closer bathroom? We both know Henry; we can figure out where he took her."

"I've considered it, but it's only been happening for a week or two. I... I'm just not sure it's anything, and I don't want to make too much of an issue about it."

"If you're not feeling well, though, it would be worth it to see a doctor. We all want you to be healthy."

"I suppose. Really, it... I think it might just be that time of the month. I'm not sure; it shouldn't be, but maybe that's it. The nausea and tiredness are things that aren't uncommon, even if I don't usually get them."

"Have you... I'm sorry if this is forward, but have you considered the idea that you might be pregnant?"

Philip takes a deep breath, closing his eyes for a second. When he opens them again, he looks horrified. "There's... there's a back door. Oh my god, of course he took her out the back door. There's a more private bathroom there and everything. That's where they are, but I... I can't get through that bloody room without having to talk to people. I'll be there all night before I can get to her."

"I'll get you through. I... I can cause a distraction. Is there a $75,000 cake in there?"

"I hadn't considered it, but I... I suppose maybe..." Martha looks worried, and Henry can all but hear her mind working. "Can I... How would I even go about getting a test; if I buy one anywhere someone will say something, and it'll be everywhere."

"One second. Bea and I... we made them put tests in every bathroom here as a sort of... I don't know, a sort of prank on Gran, I guess. It was sort of daft; I was drunk and she was ranting, and Nora thought it was funny. One second..." he rummages around in a cabinet for a minute, pulling out a few pads and tampons before he finds the pregnancy tests and holds one out for Martha. "You... you don't have to, but if you want, I could step out."

Martha's hand is shaking a bit as she nods, taking the test. Henry steps out, closing the door behind him, and he looks down the hall just in time to see Philip turn the corner, looking incredibly relieved. A moment later, Alex appears, drenched to the bone in something that smells suspiciously like champagne. Philip is ready to rush into the bathroom, but Henry convinces him to wait until they hear a flush, and when Martha opens the door a bit Philip is there to fret over her. Alex can't help but notice the similarities to Henry as Philip cups Martha's face and gets them both inside the door.

Henry smiles a bit, then turns to Alex and immediately has to hold him back to keep from getting drenched in whatever Alex is drenched in.

"Do I want to know why it took you so long, or why you're covered in champagne?"

"Well, we went the wrong way, and then Philip needed to get through the dinner without anyone stopping him, so I... caused a distraction."

"What kind of distraction?"

"Well, since there wasn't a $75,000 cake to fall into, I settled for a champagne fountain. What? Don't give me that look; it was to help your brother! I've fallen into two different expensive things for y'all; be grateful." Henry rolls his eyes, but he is grateful. At least tomorrow's tabloids will be more interested in Alex's distraction than the fact that Henry and Martha had left the party early.

On AO3

Notes:

Nothing like a little disaster to bring people together, am I right?

Want to support the Hannah Makes Art Fund? You can tip me in ko-fi here!

#rwrb #henry fox mountchristen windsor x alex claremont diaz #alex claremont diaz #henry fox mountchristen windsor #my fic: rwrb #red white and royal blue

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lichenthrope9 · 3 years

Text

Artist’s statement: Ys, or, Borrowed from the Sea

A shortcut to mushrooms

My interest in alternate worlds was piqued when I first read The Hobbit, and the first two volumes of Lord of the Rings, The Fellowship of the Ring. The maps, the histories, the biographical information and allusions to genealogies, the languages and cultures and very real, lived-in countries, the sense of geography in that the story took place as much between points of interest as it did within points of interest, simulating the time it took to travel between cities – all of these factors hooked me as much as the story had. It is from the world of Middle Earth and the history and accidents of its construction that I derived much of my inspiration for this project.

However, as we must with all our favorite creators, I returned to the Lord of the Rings with a more critical eye years later. After coming out as transgender, going through a long health crisis, beginning to critique my own whiteness, and reading a lot more about philosophy and social science theories, I had more tools and lenses through which to critique the premises on which Tolkien wrote the darling of English fantasy literature.

It seemed Middle Earth was a project born out of Tolkien’s devout Catholicism, and the cosmology of Middle Earth heavily reflected Tolkien’s own interpretation of Catholic teachings. There were angels and fallen angels, and a battle between them on the physical world that took it off track from the plans of the all-knowing Eru Ilúvatar (Tolkien‘s analogy for the Father). This would all be well and good in theory, if Tolkien hadn‘t taken a step further and made ”Good“ and ”Evil“ sentient races, created by individual angels with certain aesthetics and moral philosophies in mind that would irrevocably be tied to the bloodline of each of these races. This already has problematic implications for Tolkien‘s racial frame, but to make matters worse, he based certain fantasy races on certain groups of humans on Earth.

So, with these pitfalls in mind, I put my initial worldbuilding efforts not into creating languages and cultures, but rather creating a planet that they could live on, that could feasibly exist in our galaxy. I didn‘t include magic in its formation, I didn‘t use a mythic structure at first. I didn‘t even know if I wanted to populate my world until I had an entire solar system. I knew things like the luminosity, age, and mass of the star, the distance between the star and planet, the length of the year and day, the axial tilt of the habitable planet, how all of that would affect the seasons and climate, and how far away the moon was and what it would look like from sea level on my planet. I knew how deep the oceans were and I even had some speculative biology plotted out for how life would come to be on this planet. My idea was, I wanted to make a hard scifi world (within reason – I‘m not Andy Weir) and then drape a cloak of high fantasy on it, almost a bit more like Dune by Frank Herbert than Lord of the Rings.

My readiness to populate my planet with peoples and histories neatly coincided with the beginning of my Purchase career. I was no geologist, geographer, meteorologist or astronomer. Though I was certainly interested in how ores were distributed in my planet‘s crust, how coastlines and climates developed, and how the sky would appear from the surface from my world, the central focus had always been and would always be how these things would all affect my fictional societies and their growth. What would it be like to grow up on a world where the moon appears so much larger than the sun? A world where the solar year is just a bit over 639 Earth days? Would it be possible, given different historical circumstances, to achieve a Type 1 or 2 Kardashev civilization? How would such a civilization come about politically?

Worldbuilding as anthropological exploration

After learning of my passion for worldbuilding, a professor suggested I take a look at the 2015 presidential address to the AAA by Monica Heller, called ”Dr. Esperanto, or Anthropology as Alternative Worlds.“ In it, Heller outlines the history of perhaps the most famous constructed international auxiliary language, Esperanto, and maps its positionalities, along with those of its creator, L. L. Zamenhof, within the scope of highly anthropological inquiry. Zamenhof was situated at the precipice of many different identities; he was a Jew from Bialystok, a multilingual city which in his lifetime lived under Russian and Polish-Russian rule. His interest in creating an international auxiliary language was one of diplomacy and peacemaking in the years preceding World War I, a time where international tensions and the influences of global industrialization and capitalism were all growing ever stronger and more binding. Esperanto‘s goals have since changed slightly; on a sticker on the back of a Paris street sign in 2013, it was hailed as ”La langue internationale équitable,” marking Esperanto as the “equitable” opponent to the specifically capitalist problem of income inequality. One can only conclude that not only the language itself, but also the act of its creation by Zamenhof, was a highly political project. Heller then touches upon other forms of constructed language, ones whose purposes lie in artistic expression and exploration such as Dothraki and Sindarin. The article taught me that “the act of transportation [to an alternative world] might have unexpected consequences. But the whole endeavor will be transformative, teaching us things we would never have learned otherwise” (Heller 2015: 21).

Since finishing this article, I have embarked on a journey to ground my project in social theory. My goal began as less utopic and more experimental. It was not yet apparent to me how my politics would manifest in the work, but I still wanted to play the game: with a number of minor changes to a habitable world from Earth, and a number of restrictions in how I depict the cultures, can I keep my civilizations alive and, more importantly, ”breathing“ (that is, relatably and realistically complex enough to feel lived-in), until they reach Kardashev Type 2 status? (That is, until they can technologically harness as much energy from their home star for use as they like.) What would stories look like set in this universe, perhaps stories set in the same star system but separated by hundreds or thousands of years? And how do I responsibly depict these people without falling prey to the same ideological traps that Tolkien and Herbert did?

This new phase of my project also coincided with my renewed interest in the works of Ursula K. Le Guin and the Nickelodeon show Avatar: The Last Airbender. A:tLA stood out as a shining example of how to write a complex, colonially-charged political history between societies without directly making any one society analogous to Western Europe or Euro-American whiteness. I devoured Le Guin‘s The Left Hand of Darkness, which taught me that even tiny changes to human cultural frameworks (such as, what if there were no gender as such, and what if everybody on a planet were asexual except for a predictable period of sexual arousal and attraction?) can have vast implications for that society‘s history (Le Guin theorized that on such a planet, there would be no concept of war); and The Author of the Acacia Seeds and Other Extracts from the Journal of the Association of Therolinguistics (Le Guin‘s own term for the supposed study of animal language) which taught me that the lenses of imagination can be focused just as strongly on our nearest neighbors in the dirt as they can be on the distant stars.

I therefore decided to take a hybridized Tolkien / Le Guin – ian approach to writing the stories. I committed to ”translating“ every character‘s pronouns into the English feminine, and only gendering them at all as feminine when necessary. I also committed to writing a world history where no one ethnic group was directly analogous to Euro-American whiteness, à la AtLA. I would of course need to loosely base groups located in geoclimatic zones on similarly-located groups on Earth, or else have altogether too much work to do (deciding how much of the culture‘s development might be affected by the geography and climate; deciding on a model of anthropology on which to base my analysis of each culture, be it structural, evolutionist, structural-functional, etc.; building each cultural good, artifact, and practice in relation to every other; conducting a simulated ethnography of each of my major ethnic groups).

So, I decided to base some of my cultures on recent ethnographies and archaeological studies of geoclimatically analogous Earth ethnicities. The first of these was a master‘s thesis by Meghan Walley, ”Examining precontact Inuit gender complexity and its discursive potential for LGBTQ2S+ and decolonization movements.“ In it, Walley complicates the gendered narratives of pre-contact Inuit history by critically analyzing remains and gender-specific tool usage, and conducting interviews with living queer Inuit and their families. Walley found that Inuit-specific definitions of Two-spirit gender and sexual nonconformity had existed since long before contact with Europeans, and that queer archaeological practices were necessary if the living traditions of extant Two-spirit and queer Inuit were to be given their appropriate ontological priority over colonial narratives. I decided to use this thesis as a springboard for reading more current histories of the Inuit and other people of the far North, to embark on my project of constructing plausible cultures for the people living near my planet‘s South Pole.

The magic of semiotics

Then: a type of breakthough. Last summer I found myself reading book after book, including Tao Te Ching, the foundational text for Taoism, and How Forests Think: Toward an Anthropology Beyond the Human, Eduardo Kohn‘s posthuman ethnography of a Runa group located near Ávila in Ecuador. In it, Kohn tries to apply the semiotic theories of Charles Sanders Peirce to human groups living in rainforest settings to construct and analyze a broader, more current, postcolonial cosmology for this Runa group and its implications for other groups’ cosmologies. It was my first encounter with Peircean semiotics. Oddly, How Forests Think referred in passing to the very chapter of Tao Te Ching that had resonated with me strongest: Chapter 11, in which Laozi talks about constitutive absence, the anti-structures that permeate structure and make structure functional (the examples he gives include the empty hub of a wheel, the space inside a clay pot, and the emptiness enclosed by a room’s four walls). Kohn applies this anti-structure model to the semiotic, saying that Peirce’s types of signs can only signify when they represent things that are not present. A child buzzing their lips to imitate an airplane will only remind you of an airplane if you forget the differences between the child’s imitation and the sound it is meant to represent.

From How Forests Think and Tao Te Ching, I derived six major tenets that I would literally incorporate into my text’s lore as an ancient religion. But more than that, it got me thinking about how language and signification was a type of magic, in many ways. So, I re-incorporated magic into my story. I based the initial rules of my magic system on the postulate that this universe was not ours, in fact, but had grown out of a knowable Universal Field that could be at least partially described with a type of grammar. This Syntaxelium (designated as such both to distance it from concepts like Chomsky’s Universal Grammar and innateness hypothesis, and also to connect it more closely to ideas of networking and fungal semiosis) could be harnessed in languages that contained its features to “negotiate” with the universe. That is, if you speak a language that uses a lot of features of the Syntaxelium in a short amount of time, you are “persuading” the universe to change some of its rules, at least for enough time to grant you a wish. I decided to make this language too complex to be conservative; that is, it would evolve and diverge very quickly from any one set of rules as people used it and streamlined it. There was a constructed language I knew of that might serve perfectly: the language Ithkuil, completed by John Quijada in 2011 and so complex that nobody, not even Quijada himself, is yet fluent in it as of this writing.

Ithkuil is a philosophical-engineered language whose design goals are to be as semantically condensed and specific as possible. There is a single “formant,” or word, in Ithkuil that can be translated as “...being hard to believe, after allegedly trying to go back to repeatedly inspiring fear using rag-tag groups of suspicious-looking clowns, despite resistance” (the word itself is /qhûl-lyai’svukšei’arpîptó’ks). Quijada has offered that Ithkuil is too complex to be a natural spoken language – rather, that it is a useful tool to think about how quickly and reliably information can be condensed into linguistic frameworks. Its philosophy of meaning is (as the author himself admits) relatively Enlightenment-based – that is, there is a one-to-one correspondence of conceptual representation to some Platonic prototype of what an Ithkuil formant might mean, which is not exactly in line with the language’s design goals – but Quijada here threw up his hands: “A more careful and rigourous construction for Ithkuil’s lexico-semantics, given the author’s stated design goals…would not assume such a theory of meaning, but would rather incorporate more recent findings of cognitive science and cognitive linguistics to reflect embodied meaning and metaphor-based conceptualization. However, pursuing such a foundation for the lexico-semantics of the language would, in the author’s opinion, be extremely time-consuming (on the order of many additional years, perhaps decades, to construct)” (2011: 270-271).

I found this thoughtfully constructed masterpiece of a language perfect for my purposes and set about creating daughter languages that may have evolved from its natural use in my world. I imagined that a group of priests of the Moon Queen had created Ithkuil in-world as an attempt to access the power of the Syntaxelium and communicate with the Goddesses. These priests partially succeeded, in that their new language granted them magical powers. They did not become all-powerful, however. These new Wizard-Queens attempted to conquer the world with their magic, and largely succeeded – but once they had spread out, Ithkuil almost immediately diverged into daughter languages due to its complexity, each of these languages preserving different features of the Syntaxelium. After a few generations, the language with the most expansionist, imperial-minded speakers would conquer the world once again and spread their language into every corner of the globe. The language would diverge again, and the cycle of colonization and genocide would continue until a group of marginalized people led a revolution against their contemporary empire and broke the chain.

The politics of translation

But, at this point I was too invested in this project to continue in my experimental, non-utopic design philosophy. I needed to introduce my polemic into the work, or else it might carry messages contrary to my values (it may regardless, but at least I can try and make my intent as clear as possible). I needed my writing to reflect a strong opposition to, or at least complication of, Enlightenment ideals. I would also paint a picture of the post-revolutionary society I dreamed for my characters, which meant I needed to refine my anarchist sensibilities with a deep dive into ethics and anarchist theory.

I decided to illustrate the conflicts between more Enlightenment, classical logic-based arguments and more post-Enlightenment, posthuman arguments in a contest between two translators trying to render the same text into English. I therefore refined the six tenets of my constructed religion, translated them into Ithkuil, then rendered them back into English in two competing and slightly different ways:

1. tʼal-lrëikțatf orêtfiáss arkʼarț

[tʼal.lɾəɪkθatf ɔˌɾeːtfɪ.ˈas.s ˌaɾkʼˈaɾθ]

similarity.p1s3.IFL-MLT.N-MNF-HAB-EPI thought.p2s1.FML-MLT.N-v2ss/9-GEN source.p1s1.FML-AGG.N

“It is known: some reminder is the source of any thought.” – Eloquences

“So it is that all thought’s source is a likeness.” – Violet

2. okleomdh âkláʼdh tʼal-lriočʰaț atvufq oráʼtf

[ɔklɛ.ɔmð ˌakˈlăð tʼal.lɾɪ.ɔt͡ʃʰaθ atvʊfq ˌɔˈɾătf]

river.p2s1.IFL-COH.N.PRX-ASI river.p3s1.FML-N.PRX-MED organize.p3s3.IFL-DYN-HAB-EPI.N self.p1s1.IFL-MLT.A-IND thought.p2s1.FML-MLT.N-MED

“It is known: as a current from the channel, so selfhood organizes itself out of any thought.” – Eloquences

“So it is that as the whirlpool from the stream, selfhood knits itself from strands of thought.” – Violet

3. ôcneoț îcnêț atvațoaxiarň tʼal-lrëigadhoaqʼ

[ot͡snɛɔθ iːt͡sneːθ atvaθɔ.axɪ.aɾŋ tʼal.lɾəɪgaðɔ.aqʼ]

spore.p3s3.IFL-N-ASI fungus.p2s3.IFL-N-GEN self.p1s1-IFL-N-v2x/2-v2rň/9 component.p1s3.IFL.MNF-HAB-EPI-N-v2q’/2

“It is known: as the fruiting body of the fungus, the crucial, tiny self is the visible component.” – Eloquences

“So it is: the smallest self is the most crucial visible component, as the spore of the fungus.” – Violet

4. tʼal-lreijjaçoak ekraxiuk amvouț tʼal-lrükrațíukiss

[tʼal-lɾɛ.ɪʒ.ʒaçɔ.ak ɛkɾaxɪ.ʊk amvɔ.ʊθ tʼal.ˌlɾuːkraˈθɪ.ʊkɪs.s]

motion-in-situ.p1s3.IFL-v2k/2-ASO.N.PRX-DYN.EPI.HAB tool.p1s2.IFL-ASO.N-v2k/1 center.p11.IFL-N.NAV tool.p1s2.IFL-N-v2k/1-v2ss/1-MNF.HAB.EPI-framed

“It is known: a good wheel spins right about the hub, where there is no wheel.” – Eloquences

“So all wheels spin ever toward their wheel-less centers.” – Violet

5. öpatf uizát tʼal-lripšasúemzeoj ékëuʼady tʼal-lreisásiull

[øpatf ʊ.ˌɪˈzaθ tʼal.ˌlɾɪpʃaˈsʊ.ɛmzɛ.ɔʒ ˈɛkəʊ̆ʔadʲ tʼal.ˌlɾɛ.ɪˈsasɪ.ʊl.l]

carrier.p22.IFL-MLT.N mind.p1s1.FML-N-MNF happen.p1s1.FML.DYN.HAB.EPI-PRX-framed-v3mz/9-v2j/6 path.p1s2.FML-A.PRX.PRV-ABL-framed deviate.p1s3.IFL-DYN.HAB.EPI-framed-v2ll/1

“It is known: a ‘thing’ is a self which acts automatically as expected, and never deviates from its predetermined path.” – Eloquences

“So inanimate is the self which obeys only habit, and never strays from destiny.” – Violet

6. tʼal-lriokápps oratfiáss âkțîʼatf

[tʼal.ˌlɾɪ.ɔˈkap.ps ɔɾatfɪ.ˈas.s ɑkθiːʔatf]

path-oriented translative motion.p3s3.FML-A.TRM-DYN.HAB.EPI thought.p2s1.FML-N.MLT-v2ss/9 similarity.p1s3.IFL-ALL-MLT.N

“It is known: finishes, arrives, any and all thought at a type of reminder.” – Eloquences

“So the destination of a thought is a likeness.” – Violet

As I mentioned, these six tenets were adapted from the Tao Te Ching as interpreted through Charles Sanders Peirce’s semiotic philosophy. They have to do with the origins and ecologies of the self, the necessity and inevitability of communication, and the structure of thought. Why did I create two different translations of the same text in-world? I wanted to show how political of a project translation can be. For example, the less rigorous Violet Text translates the epistemic-habitual modal affixes of the main verbs as “so it is,” whereas Eloquences uses “it is known;” I did this because though they might not seem such different phrases, “so it is” distances the knowledge from a knower – it poses the knowledge as an immutable state of reality, rather than an interpretation derived by an observer. As I learned from readings of Victor Turner, Antonin Artaud and Roland Barthes, such mythologizations are processes of naturalizing the events of a narrative until they lose their historicity, and seem to follow simply from common sense. Mythology transmutes history into a string of isolated, politically vacuous events that could never have happened any other way.

Further examples of the differences between these hermeneutic exercises are in the translation of “similarity.p1s3” in Tenets 1 and 6. Eloquences renders this as “reminder;” the Violet Text, as “likeness.” Why is “reminder” any more nuanced? Why might “likeness” lead the reader astray? To me, “likeness” implies literal similarity; a sort of facsimile relationship between an “original” and “copy.” I took these tenets from Kohn and Peirce directly: Kohn says that all thought begins and ends with an “icon.” “…[A]ll semiosis ultimately relies on the transformation of more complex signs into icons” (Peirce CP 2.278 cited in Kohn 2013: 51). By an icon, Kohn and Peirce mean a type of sign that stands in representationally for another in a very literal sense, like an onomatopoeic sound-image or a drawing of a smiley face. These icons aren’t supposed to be technical, detailed imitations, but rather empty stand-ins to quickly communicate a desired connotation. Therefore, a “reminder” suffices as a translation of “similarity.p1s3,” because the relationship between the sign and the referent is not always one of literal similarity.

The limitations of magic

Or, other magics that do just as much

If we take from Mauss that magic is highly grammatical, that it follows closely to linguistic processes, then my equally linguistic magic system’s limitations must lie in the exclusive capabilities of non-linguistic systems, or perhaps even non-semiotic systems. We must turn to the affect theorists. Is the magical self truly nothing more than a set of interpretants, signaling to each other through eternity? What would the implications of this be for free will and the power of the individual vs. the community? This takes me to my current readings of Deleuze & Guattari’s A Thousand Plateaus: Capitalism & Schizophrenia, translated by Brian Massumi, and Massumi’s own Movement, Affect, Sensation: Parables for the Virtual. These books challenge the idea that the self can be reduced to its linguistic processes, and posit that the “emptiness” at the hub of Laozi’s wheel, the constitutive absence at the heart of these semiotics, can actually be filled with direction, with velocity – a sort of perpetual growth into excess meaning that’s difficult to pin down in definition or interpretation.

Massumi takes from Bergson that any space, including the political geography upon which poststructuralism maps identities in their “positionalities,” is formed retrospectively from the completion or frustration of dynamic, unmediated processes of movement and sensation in the body. For Massumi, there is an incorporeal element of The Body – its movement through spacetime – that is ontologically privileged before the formation of The Discursive Subject. “Another way of putting it is that positionality is an emergent quality of movement,” says Massumi (2002: 8).

Emergence is another effect that I address in my Tenets; Tenet 2 deals with selfhood as an emergent property of interacting thoughts, as per Kohn and Peirce. Peirce’s semiotic often grapples with the problem of continuity vs. description, creating almost a Heisenberg paradox of its own wherein a thought can only be described precisely as a positional snapshot, or as a “nondecomposable…dynamic unity” (Massumi 2002: 6). Peirce formulated his three types of signs as emergent properties of each other; indices are emergent properties of the relationships between icons, and symbols are emergent from analogous interactions between indices, or indices and icons. So selfhood, language, and magic all organize themselves from the simplest signs, which is why Peirce and Kohn say all thought begins and ends with an icon. It seems there are parallels within these genealogies of thought, between the Deleuzian affect theorist Massumi and the semiotic of Peirce as it applies to posthumanism. Can the analogy be drawn further to say that if space is an emergent property of movement as selfhood is of thought, then movement and affect is its own kind of non-semiotic magic that must have an effect on spacetime?

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arks-self-ship · 4 years

Note

Hi!😊 I just wanted to ask about your F/O and your S/I? Just about you guys in general since I don't really know much yet 🥺👉🏼👈🏼 though I do know that you are so cute together 💜

Ah that's fair! I mostly just talk vaguely about them because I don't stick to one specific timeline and just bounce around ideas. Also thank you >////<

My basic F/O and S/I list are linked in my bio but there's not a lot about the relationship, so I'll probably link this to that soon. If you have any specifics you want to know I'm happy to answer those too! I am working on ref sheets of all my main AUs so hopefully soon there will be faces to attach with each one!

(This ended up being way longer than I thought, so I put it under a read more!)

Classic Blue

Kurt's always so helpful and sweet, helping my S/I. I tend to jump around the timeline, usually it's classic new team stuff, but sometimes it's Excalibur or when Logan ran the school. They are there to support each other. Ark is always blunt when it comes to helping him face problems he may not always know are there because that's what he needs, not dancing around the topic. Meanwhile Ark is slow to confront problems, and they can usually realize their problems and Kurt is there to be a support and help them at their own pace. I like doing the storyploints of him having to confront his foster family on a lot of nonsense from when he grew up, them helping him get used not to using his image inducer, and confronting the professor on a lot of his bullshit together. He's my default to think about and is definitely a huge comfort for me

Goldy

Goldy's important because he makes Ark actually feel important and special. He adores them so much, even at their worst. They're his source of comfort, and when they get together he is very much not in a good place but they are his rock while he works to get better. A lot of hurt/comfort with them, going both ways as theyre both healing from severe past trauma. Lots of late nights of nightmares and insomnia too. Fun secret dating stuff for a bit too. Kurt is also sort of a younger brother to Logan in this. W/eapon X hugely fucked him up, but he was only there for about a year. Main plot points I go back to are Kurt almost having the complete mental break he has in the canon ultimates comics but with Ark being there to bring him back to reality and help him (the start of their relationship too), dealing with the fact theyre kinda trapped and don't have a choice to not be X/men, and Ark preventing the ultimatum. Probably the one I focus on the most lately

Three

Three is what Goldy could have become, spending several years as part of the w/eapon X program (also being much younger when he was taken, about 13) and it broke him. It's all about the protective tough guy and soft squishy shorter one dynamic. He gets so easily lost in his paranoia and is so distanced from everyone and tends to scare people, but Ark helps ground him and connect him to those around him. Before Ark the only one he got along with was Logan, and that's because he goes with Logan to track down smaller branches program and shut them down. But now he's actually become (sort of) friends with the rest of the team! Specifically their friend group is Ark, Kurt, Piotr, Warren and Alison (Goldy has the same friend group but with rogue too) and theyre the only ones who have really gotten to know him. He has much less qualms about killing when he needs to and is very skilled at fighting with a variety of weapons. The main plot points I have are him not only slowly coming to terms with his PTSD but also Ark helping him learn to cope, Him confronting what he could have been by eventually going back to his family after years of not seeing them and realize he doesn't belong there anymore

Goldy and Three do have some overlapping plot points because they have the same roots which I'll mention here

-Being kidnapped because after a fight with his foster mom he ran off into the woods, which wasn't uncommon for him to do when upset but that's when he was taken

- Returning to his family to visit after being gone so long and trying to not only for in the place of who he once were but his family realizing something deeply changed about him. For Goldy he keeps going back to visit until it reaches a boiling point and talks very vaguely about it with his brother and his brother knows someone did something to him and his Mom overhears him on the phone with Ark after he has a panic attack from his PTSD. On the other hand Three is quick to realize how he'll never be who they think he is again, and doesn't visit often but keeps in contact.

-Though whatever methods he ends up meeting his dad A/zazel, who in this universe (cause I say so) isn't locked away in another reality and wanting to conquer this one. Instead he lives way way out in the countryside, having retired from his life of crime (how he met M/ystique, Kurt's mom) and settled down with a wife. He had 4 kids, A boy named Arthur who's 13, a girl named Jezabell (16), and the twins (9). Kurt ends up finding a lot of comfort in the family he never knew he had, and A/zazel never knew about Kurt and just considered M/ystique the one who got away. Three is a lot more cautious about this than Goldy is, but ends up having deep conversations with his dad that are very vaguely about what happened to him that Goldy wouldn't have.

Nighty

Nighty has had the same story since I first started self shipping, although details have changed over time. It's all about young dumb love, being deeply in love with your best friend and just the feeling of driving down the road to get out of the house with the windows down and blasting music and singing together. A lot of it is just fun dumb stuff, lots of shenanigans as their relationship is very casual. The most angsty it gets is Kurt very slowly comes to terms with the fact he's gay (also Nighty is the only version who's specifically gay, other AUs he's Bi). Big plot points I go back to are Kurt first realizing he's gay and going to Kitty cause the only other queer one on the team (that he knows of) is Ark and he likes him!!! He can't ask him about it!, Kurt and Ark just chilling together and they look over at him and smile and Kurt's heart is just so filled with love he kisses them which cause it catches them so off guard that they freeze and Kurt panics and teleports way (they talk about it later and kiss again), getting used to going to the local college and dealing with being in a new setting, Toad finding out theyre dating by catching them kissing and Ark threatening him if he tells anyone (he doesn't, he's also gay), Rogue finding out cause she borrows Kurt's powers and asking who all knows and Kurt says "Well Kitty, and Toad by accident, and I think Jean and the professor know, and maybe Logan? But he's hard to read so I'm not sure". Just a lot of fun secret dating shenanigans cause Kurt isn't ready to come out yet

To be honest those are the biggest ones to know? Big blue, Red and Band are so loose there's not really anything to talk about?

Big blue it's all about the big protective magical monster boyfriend, Red it's about the hurt comfort but darker this time (and usually has a different S/I than Ark) and with Band it's all about the band aesthetic and helping him heal

#Sorry this took so long to answer! its been a busy day #rosepetalcharm #•baby boy blue•#•baby blue boy x ark•#•ark insert•#•classic baby blue•#•baby blue nighty•#•baby blue three•#•baby blue goldy•#•ark world lore•#•answered•ask•

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queerwelsh · 5 years

Photo

Bisexuality pages from ‘Freaky Queer,’ a punk, anti-war, working queer zine published in Cardiff in 1992. Transcript below.

Sources (that they used in these pages of the zine):

Off Pink Publishing, Bisexual Lives, London, 1988.

Lorraine Hutchins & Lani Ka’ahumanu ed. Bi Any Other Name: Bisexual People Speak Out, Alyson Publications, USA, 1991.

This whole copy of ‘Freaky Queer’ is available to read here.

PAGE 1: clippings of quotes on a photo of a man.

Bisexuality

“I’d rather be bisexual half the time than heterosexual all the time.” ♀️

“It is entirely for me as an individual to decide exactly where my attraction may lie and for nobody else to insist that I conform to their specifications. Bisexuality for me has nothing to do with ‘swinging’; it is about the ability to respond to someone without the obligation to leave well alone because of gender.” ♂️

“We must not think of ourself as second class gays, but as first class people. No bisexual I have ever known though of themselves as a second class straight.” ♂️

“We are not sitting on the fence - we are building a new garden.” ♂️

“If people could only accept that sexuality is infinitely variable and that it was never meant to be confined to the parameters it has been, then not only would MY life be easier but the world would become a much better place.” ♂️

“Like many people I was so scared of my own gay feelings that I found it easier to dislike in others what I disliked in myself. Looking back I must not criticise myself because the anger I felt then was protective in keeping safe a part of me I could not handle. I found that liking men did not alter my feelings towards women. In fact I got on better with women because I was more relaxed.” ♂️

“A heterosexual lover once said that she would always love the part of me that could belong to her, but she understood that to possess me entirely would be to smother the essential ‘me’ that made me so dear.” ♂️

“I feel VERY bisexual at the moment and very positive. I just wish there were more bisexuals around and that non-bisexuals would accept my choices more.” ♀️

“So what if I WAS sexually attracted to men as well as women? Did it make me any less of a human being? Was my friend any less of a human being for being gay? Why did I feel that intolerence towards gays was intolerance towards me? I wasn’t gay. I loved women too,

[CONTINUED ON THE SIDE OF THE PAGE:]

but if you loved men at all, you were a ‘poof’ or a ‘queer’ and that meant you were dirty and that you couldn’t love women. I mean, NO ONE is going to believe you can like both and not be ‘confused’. I’ve fantasised about men and women so much that I wouldn’t know which I preferred.” ♂️

“For me, being bisexual is a part of being open to myself. I have always tried to see things from both sides. I don’t understand why more people don’t acknowledge that both men and women can be sexy. I guess it’s because I like people.” ♂️

“I’ve always seen myself identified as loving both sexes. Until I came across the term bisexual I was a long time without a label. I’ve very ambiguous feelings about labels but despite the misconceptions about bisexuality, saying I’m bisexual seems less of a non-statement than saying I’m neither straight nor lesbian.” ♀️

“Since heterosexuality is so ingrained in the prevailing consciousness, it becomes almost impossible to get some heterosexuals to recognise that any valid alternatives exist. I think the word ‘normal’ was created by those people who are afraid to say ‘heterosexual’ just because their fear of the body is such that they dare not admit to sexual feelings.” ♂️

Handwriting at the bottom of the page:

“1st Bit: Nicked from “Bisexual Lives” (off Pink Press)

2nd Bit: Nicked-> ‘Bi Any Other Name’

PAGE 2: Clipping: ‘Myths/realities of bisexuality’ by Sharon Forman Sumpter (from Bi Any Other Name)

“Sexuality runs along a continuum. It is not a static “thing” but rather a process that can flow, changing throughout our lifetime. Bisexuality falls along this continuum. As Boston bisexual activist Robyn Ochs says, bisexuality is the “potential for being sexually and/or romantically involved with members of either gender.”

“MYTH: Bisexuals are promiscuous/swingers. TRUTH: Bisexual people have a range of sexual behaviours. Some have multiple partners, some have one partner; some go through partnerless periods. Promiscuity is no more prevalent in the bisexual population than in other groups of people.”

“MYTH: Bisexuals are equally attracted to both sexes. TRUTH: Bisexuals tend to favor either the same or the opposite sex, while recognizing their attraction to both genders.”

“MYTH: Bisexual means having concurrent lovers of both genders. TRUTH: Bisexual simply means the potential for involvement with either gender. This may mean sexually, emotionally, in reality, or in fantasy. Some bisexual people may have concurrent lovers; others may relate to different genders at various time periods. Most bisexuals do not need to see both genders in order to feel fulfilled.”

“MYTH: Bisexuals spread AIDS to the lesbian and heterosexual communities. TRUTH: This myth legitimizes discrimination against bisexuals. The term “bisexual” simply refers to sexual orientation. It says nothing about sexual behaviour. AIDS occurs in people of all sexual orientations. AIDS is contracted through unsafe sexual practices, shared needles, and contaminated blood transfusion. Sexual orientation does not “cause” AIDS.”

“MYTH: Bisexuals are confused about their sexuality. TRUTH: It is natural for both bisexuals and gays to go through a period of confusion in the coming-out process. When you are an oppressed people and are constantly told that you don’t exist, confusion is an appropriate reaction until you come out to yourself and find a supportive environment.”

“MYTH: Bisexuals are not gay. TRUTH: We are part of the generic definition of gay (see Don Clark’s Loving Someone Gay.) Nongays lump us all together. Bisexuals have lost their jobs and suffer the same legal discrimination as other gays.”

“MYTH: Bisexual women will dump you for a man. TRUTH: Women who are uncomfortable or confused about their same-sex attraction may use the bisexual label. True bisexuals acknowledge both their same-sex and opposite-sex attraction. Both bisexuals and gays are capable of going back into the closet. People who are unable to make commitments may use a person of either gender to leave a relationship.”

“MYTH: Bisexuals can hide in the heterosexual community when the going gets tough. TRUTH: To “pass” for straight and deny your bisexuality is just as painful and damaging for a bisexual as it is for a gay. Bisexuals are not heterosexual and we do not identify as heterosexual.”

“MYTH: Bisexuals are in “transition.” TRUTH: Some people go through a transitional period of bisexuality on their way to adopting a lesbian/gay or heterosexual identity. For many others, bisexuality remains a long-term orientation. Indeed, we are finding that homosexuality may be a transitional phase in the coming out process for bisexuals(?). It is important to remember that bisexual, gay, lesbian and heterosexual are labels created by a homophobic, biphobic, heterosexist society to separate and alienate us from each other. We are all unique; we don’t fit into neat little categories. We sometimes need to use these labels for political reasons and to increase our visibilities. Our sexual esteem is facilitated by acknowledging and accepting the differences and seeing the beauty in our diversity.”

PAGE 3: Bisexual Groups and other Contacts

BRITAIN

BI-MONTHLY - the magazine for bisexuals. Write to: LBG, BM-BI, London WC1N 3XX. Obtainable from alternative bookshops nationwide.

MEN’S ANTI-SEXIST NEWSLETTER exists as a forum for exchange of news, ideas, thoughts, feelings and information who are challenging sexism and particularly for people who wish to find for men alternative roles to those which society casts for them. Write to: MAN, 60 Rhymney Street, Cathays, Cardiff.

THE FEMINIST LIBRARY AND INFORMATION CENTRE works to provide information facilities on subjects of importance to women and the Women’s Movement. The possess many facilities including a newsletter every two months. The library is open to non-subscribers but membership is necessary to borrow books. Subscriptions vary according to income. Write to: Hungerford House, Victoria Embankment, London, WC2 6PA. Tel 01-930 0715.

IN HANDWRITING: WE AREN’T ALWAYS WAT WE SEEM!!! NICKED FROM “BI-LIVES” (OFF PINK PRESS)

LONDON BISEXUAL WOMEN’S GROUP, write to: BM Box LBWG, London WC1N 3XX.

BISEXUAL AND MARRIED GAYS GROUP, Phone: Nigel 01-558 5203 (5.30-10pm.)

SIGMA is a support group for relationships where one partner is gay or bisexual. Details from Gay Switchboard 01-837 7324.

BISEXUALS IN NALGO, write to: BM-BI, London WC1N 3XX.

EDINBURGH BISEXUAL GROUP meets every Thursday, 8pm, at the Lesbian and Gay Community Centre, 58a Broughton Street, Edinburgh EH1 3SA (no disabled access). Write to this address for further information or send an sae to join the Pen-Pal Scheme. The Bisexual Phoneline (see above) operates a contact serice.

MANCHESTER BISEXUAL GROUP, Write to: Box 153, Manchester, M60 1LP or Phone: Paul Owen, 061-228 3554 (2-4pm.)

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rosalind-of-arden · 4 years

Text

Sword and Pen Reread, chapter 3

Khalila chapter! With some Santi awesomeness and a couple tantalizing Wolfe tidbits.

Ephemera: Archivist sending out spam mail to anyone who might side with him.

Archivist’s throne is very old and made of wood. Not especially fancy. Or comfortable.

Receiving Hall: a vast marble space with lotus columns marching into the distance.” One automaton: a two-story Horus statue. Throne is on a gold platform on the backs of gold sphinxes. Seven steps up to the throne, four braziers at the platform corners that burn herbs. Some kind of passive cooling in the design. The room is fig enough to hold tens of thousands of people.

Archivists have always been elected by Conclave.

Conclave consists of thousands of Scholars, tens of thousands of librarians and staff - and this is just those in Alexandria, not counting those working outside Alexandria and anyone who sided with the former administration. So that makes a fairly democratic election - has it always been that way? Probably not?

Not clear if High Garda counts as part of the Conclave or not.

The crowd is parting for Santi and it’s promotion time! This is just such a good moment for him. In Smoke and Iron, he didn’t even feel he could give orders to his own company because he gave up his position to rescue Thomas. He’s got to still be hurting from Zara’s betrayal. But this whole time, the packs has survived in part due to the loyalty he inspired in the High Garda. All the friendships and connections that he built over a 20+ year career have gotten him here. And here’s the payoff. He’s not only restored to his former position, but promoted to the top of the High Garda.

The first two members of the new Curia, Murasaki and Santi, are people who, in one way or another, refused to participate in the old administration’s corruption. They’re both respected for being good at their jobs and they both get along well with the people who work with them. That’s the kind of leadership the new Library chooses right after throwing the corrupt Curia out.

Santi’s oath: “I swear to serve the Great Library with body, mind, and blood for as long as it pleases the Archivist. I swear to defend it against all enemies, within and without. I swear to uphold the laws and covenants of the Great Library, and when ordered to direct and lead the High Garda in battle. I swear to protect knowledge and its servants wherever they may be threatened.”

I am totally writing a fic in which Santi gives Wolfe a modified, more personal version of this oath. When? It’s hectic for a while after they run in Paper and Fire, then Santi’s injured... maybe in the camp after Philly? Or later, after they rescue Wolfe in Smoke and Iron, before the battle? Or maybe they did this ages ago - they might not want to get married, but that doesn’t mean they can’t have sexy, sexy loyalty oaths.

Another thing that needs to happen in fic? Wolfe and Santi borrowing the throne room for some roleplay. You know Santi would enjoy kneeling with Wolfe on that throne.

Lord Commander’s promotion is voted on by the captains of the High Garda.

“Partner for years, though I don’t believe they have formally married.” A few things here. First, this is an insight into how relationships are viewed. Wolfe and Santi, as we know, think of each other as partners and lovers; those are the words they use to describe their relationship, and they seem to use those terms interchangeably, with equal weight (they might use “lover” more? don’t have digital copies to search it). Khalila, however, feels the need to clarify that they are “more than that” when Saleh asks if Santi is Wolfe’s lover. So there’s an increased degree of respect for a long-term partnership, and Khalila wants to make sure Wolfe and Santi get that.

But also, notice Khalila’s qualification that she doesn’t “believe” Wolfe and Santi have formally married. That means they could very well be married and not have told her, or anyone else. Khalila’s the fucking Archivist’s assistant now and she’s known Wolfe and Santi for over a year, so by the standards of our world, it would be really weird for her to not be 100% sure whether Wolfe and Santi are married. Could be a bit of rhetorical humility on her part, sure, but it also implies a certain level of privacy. Is that an indication that Alexandrian culture treats relationship status as something private in general? Or a sign that Wolfe and Santi are unusually private about the details of their relationship?

And also, “formally married.” As contrasted with what, informal marriage? Which would be common law marriage. So we can say common law marriage is an option in Alexandria, and given how long they’ve been together, there’s a pretty good chance that Wolfe and Santi are common law married. But if they are, they’re not saying so.

And, yeah, gay marriage as a legal thing in Alexandria is totally confirmed.

So put all this together, and we have a bit of a social hierarchy of relationships. We might have a higher expectation of privacy surrounding relationships. Or we might just have Wolfe and Santi, within this system that’s totally open to gay marriage, being rather queer in how they define their relationship. They’re 100% committed to each other, but they’ve opted out of formal marriage, they keep their relationship private, and they call each other lovers even though they could use language that implies a higher level of commitment.

Wolfe talked to Santi while hallucinating in prison. Wolfe was even less ok there than we saw in Smoke and Iron. This wouldn’t be his first time hallucinating Santi - he did it in Rome, too.

And Saleh heard it. If Saleh heard him, so did others there. Wolfe is not going to be happy about that when/if he finds out. Santi is going to be worried as fuck if he finds out, too.

Saleh is worried about Wolfe. Maz, do something with this please.

Wolfe isn’t there for the big oath-taking ceremony. Yes, hunting the ex-Archivist is important, but is there more to it? Consider his discomfort with the Scholars in chapter 1, and his later discomfort with the Curia. Would he be comfortable standing there with all these people who did nothing when he was taken and swearing loyalty to the Library with them? Or even Murasaki herself - she said she knew Wolfe, well enough that she was worried she would be targeted when Wolfe disappeared. And as far as we know, she didn’t do anything to help him. He might feel the same about her as the rest of the new Curia.

High Garda captains take their oaths individually. Scholars, librarians, and soldiers take oaths as a group.

The Alexandrian Merchant Council is a political organization of some sort that Murasaki has to meet with. For those looking to develop Alexandrian politics more.

Oath for Scholars, librarians, soldiers: “In the name of sacred knowledge, in the eyes of every god in every corner of this world, I swear my allegiance to the Great Library of Alexandria. I swear to protect the knowledge of this world against all enemies, within and without. I swear to nurture and share such knowledge with all who wish to learn. I swear to live, teach, preserve, study, fight, and die in this cause.”

Khalila worries that Eskander might not be planning to swear allegiance to the Library. She’s also worried he has too much power. Post-canon conflict potential?

Murasaki says the Library will protect the Archives “as we have for three thousand years.” Just in case we needed yet another number to throw around when discussing Library timelines.

Cleaning and catering services are based in the middle level of the Serapeum.

Career servants get silver collars.

The ambassadors are in the “Seventh Great Room.” Its a big room with windows and lots of seating. Just for an idea of the capacity of the Serapeum for meetings.

#sword and pen reread #the great library #long post

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arofili · 3 years

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Innumerable Stars 2021 Letter

Hello lovely creator, thanks for writing for me in Innumerable Stars 2020! I’m very excited and grateful for whatever you create for me <3

This letter will restate my DNWs, list my likes, give you a brief rundown of my canon preferences, and then dive into specific prompts for each of my requests. I’ll warn you upfront that I tend to ramble, so feel free to skip prompts that don’t interest you and/or use ctrl+F to search for whatever it is you want to write for. I’ve named each of my requests based on the basic idea within it, so hopefully that will be helpful for you!

Housekeeping

DNWs:

non-con/dub-con

ABO (heat fic is fine)

food involved in sex

abusive/neglectful parenting (especially not with Fëanor; Eöl is the only exception, but even then don’t dwell on it)

sibling incest and parent-child incest (cousin incest is fine)

unhappy/unhopeful endings (unless requested)

jealousy

possessiveness EXCEPT with Russingon, for some reason I love it with those two

cheating

character or ship bashing

hanahaki or any scenario where unrequited love is physically damaging

soulmates, especially soulmate AUs BUT soul bonds are excellent as long as there is an element of choice involved

unrequested modern AU

non-trans mpreg

if you are writing a slash ship where the characters are/were married to/involved with someone outside of the ship in canon, please don’t have the character(s) hate their spouse or not have been actually in love with them. The only exception to this is Finrod; I’m fine with him and Amárië not having been actually in love, but don’t do this for anyone else, especially not Fëanor.

Hobbit/LOTR-specific DNWs:

the concept of a dwarven “One”

any Fíli pairing, even in reference

Alfrid

Legolas or Gimli paired with anyone other than each other

mortals dying super quickly in Valinor

unrequested smut

Silm-specific DNWs:

evil/irredeemable/incel Maeglin

Elwing bashing

Fëanorian bashing

over-the-top Fëanorian apologism (they did bad stuff; it was at least partially their fault. you don’t have to address that, necessarily, but don’t rewrite the story to claim they were blameless)

Fingon with a wife

Fingon or Maedhros ships that don’t take Russingon into account (polyamory, an open relationship, Mae with someone after Finno dies or vice versa for an AU, them with other people while they’re separated on the Ice/in Angband - all of these scenarios are fine, but in the end I need them to be with each other first and foremost)

dark!Maedhros

elvish re-embodiment after death being an actual, literal rebirth that requires the characters to have a second childhood; I much prefer them being granted a new hröa in their prime (feel free to explore what “in their prime” means, though, especially wrt scarred and disabled elves)

Likes:

queer headcanons, especially aromantic-spectrum headcanons & trans/nonbinary headcanons

trans/nonbinary pregnancy and parenthood

found family

queerplatonic relationships

kidfic

angst with a happy ending

gray morality

explorations of magic

most tropes

fanon and fandom tropes

deconstruction/inversion of fanon and fandom tropes

secret relationships

secret kids (especially secret peredhil)

giving ships OC kids

confessions of love

first times

hurt/comfort

redemption, forgiveness, mercy

ironic foreshadowing

canon divergence AUs and X Lives AUs

fairy tale AUs

politics and scheming

resolving conflicting canonical details

names fitting the time period (Quenya names in Valinor, please; if this is difficult for you, that’s okay, no pressure, but I do strongly prefer it)

choice of character names having a lot of thought put behind them (does the character go back to their original Quenya name upon rebirth? or do they keep their Sindarin name? or come up with something else entirely? do they hate their new Sindarin name and resent having to use it, or do they embrace it? As long as you put some thought into it, I’m sure I’ll like whatever you decide!)

author’s notes where you explain your thought process, if you want; I love hearing how the story took shape!

Preferences re: canon:

LaCE compliance is always completely optional. If you do want to include it, that’s great, but if you just want the characters to fuck without having that be an issue, go for it. I love explorations of LaCE that take into account the exceptions, boundaries, definitions, etc; I also love takes that emphasize that they are Laws and Customs, not biological imperatives.

I’m not picky about my Amrod deaths. He can die at either Losgar or Sirion (or, hell, some other time/place if you make it interesting enough!), whatever works best for the story. I do like Lightly Toasted Amrod, aka he almost burns to death at Losgar but survives/gets rescued at the last minute.

Gil-galad theories are all very fun. Please don’t make him the son of Fingon and a wife; if he’s Fingon’s son, I want Maedhros to be involved at least a little bit (adoption or trans mpreg are both fine in this scenario). Otherwise, I don’t have a particular preference, though if it’s not really relevant I usually default to the son of Orodreth (who is in turn the son of Angrod).

Honestly, when it comes to theories and headcanons, my rule of thumb is “convince me”! I’m down for whatever, for the most part, as long as you can justify it :)

~~~

LOTR Books Request

Gigolas tags: Gimli, Legolas, Group: Gimli & Legolas, Group: Gimli/Legolas, Group: Gimli/Legolas & Glóin, Group: Gimli/Legolas & Thranduil, Group: Legolas & Aragorn & Gimli, Group: Glóin & Thranduil, Original Dwarf of Aglarond, Original Elf of Ithilien Suggested worldbuilding tags: Battle of Dale, Differences in Elvish & Dwarvish Histories, Fall of Dol Guldur, Interspecies Relationships, Queerplatonic Relationships, Rebuilding of Ithilien

All Gigolas is good Gigolas, and you can quote me on that - but I do have a soft spot for queerplatonic Gigolas, and I might die of happiness if you wrote me some :) I love elf/dwarf relationships, and cultural differences leading to miscommunication is one of my favorite tropes for this ship.

For the “& Thranduil” and “& Glóin” I’d love to see some “telling the family” scenarios, with Thranduil and Glóin coming to terms with their sons’ relationship. For “& Aragorn” I was imagining a Three (or Four, if you want to keep Boromir alive!) Hunters situation with Aragorn third wheeling them (and/or commiserating with Boromir about how terrible their friends are at expressing their feelings).

I’m very interested in Legolas and Gimli’s new homes post-War, how much time they spent visiting each other and how much time they spent apart, etc. I would love to see an outside POV of Gigolas, what their friends and subordinates think of this odd couple; perhaps an elf of Ithilien and a dwarf of Aglarond strike up a friendship and gossip about their lords! I’d also be interested in Gimli and Legolas visiting their original homes, meeting one another’s parents, and helping rebuild after the Battle of Dale / Fall of Dol Guldur.

I would also love to see an exploration of dwarf/elf relationships and the difficulties that would arise from that. Legolas’ father is a Sinda of Doriath who remembers the Battle of the Thousand Caves, and I headcanon that Gimli’s mother is descended from the dwarves of Nogrod who were involved in that debacle, so them coming to terms with that difficult history (and how that history differs) between their peoples would be really interesting.

Gildor Inglorion

...okay, so this is technically a Silm request dressed up as a LOTR request, but I would really love to see an exploration of Gildor’s origins! I have a few concepts for how he can be “of the House of Finarfin,” mostly relating to this Inglor figure who is his father. I think Inglor was either the son of Finrod and trans!Bëor (and thus the first peredhel) or the son of Aegnor and Andreth; either way, he was raised mostly by Finrod. But who is Inglor’s spouse/Gildor’s other parent? (Edrahil, maybe?) How did Gildor survive the Fall of Nargothrond, or was he born afterwards? Where did he live in the Third Age? Who was awaiting him when he arrived in Aman?

Took Fairy Wife

I think this concept is fascinating, and I’d love to hear the story of a hobbit/elf romance! Perhaps Pippin or Frodo tell this story to the Fellowship? I also have the headcanon that since Durin I “woke alone,” his spouse was also an elf, so maybe Gimli could throw in that legend as well.

Group: Last Prince of Cardolan/Lady of the Blue Brooch Suggested worldbuilding tags: Barrow-downs and Barrow-wights, Necromancy and Hauntings, Sentient Weapons & Jewelry

I’ve recently become a little bit obsessed with the concept of the Last Prince and the Lady of the Blue Brooch being star-crossed lovers. We have conflicting accounts of the Last Prince’s demise, and I’d love to see those reconciled into one story; we also know that the Prince was buried in the barrow-downs, where the Lady’s blue brooch was found. How did that end up there - was it a token she gave to him before his death? Did she visit his grave after it was too late? How did Tom and Goldberry know her? Maybe they are the ones to tell this story to some hobbitish traveler through the Old Forest... I do have my own version of this story, if you’d like to borrow some ideas from there, but feel free to make up your own thing too!

Group: Eldarion/Elboron

I just think they’re cute :) I like the idea that Eldarion’s heir is not his own child, but the child of one of his sisters, and that Elboron had a sister who was the parent of Barahir of Ithilien, so these two can be gay together. Of course, you could also make one of them trans and have Eldarion’s heir and Barahir be siblings! Or you can explore the beginnings of their relationship - just a cute get-together story would be wonderful.

Worldbuilding: Arwen reforged Narsil

This is such a neat concept - I would love to see Fëanorian Arwen (bc Kidnap Dads) going full smith mode and personally reforging Narsil into Andúril for her boyfriend. Arwen embracing her dual kinship as both the descendant of Lúthien and the descendant of Maedhros and Maglor would be amazing (especially if Maglor is hanging around in Rivendell). Bonus points if Narsil used to be Maedhros’ sword, and that’s how it got passed down to Elros!

~~~

Hobbit Movies Request

Kiliel tags: Fíli, Kíli, Tauriel, Group: Fíli & Kíli, Group: Kíli/Tauriel, Group: Kíli/Tauriel & Fíli Suggested worldbuilding tags: Almost Everyone Lives AU, Kíli's Runestone, Worldbuilding: Tauriel goes to Erebor AU

I’m a basic bitch when it comes to Kiliel stuff: give me fluff, give me angst with a mostly-happy ending, give me Fíli being exasperated by his brother’s romantic drama! I would be interested in an AU where Thorin dies but Fíli and Kíli survive, and King Fíli has to deal with Kíli’s love life causing political problems; I’d also love to see an AU where Tauriel goes to Erebor with Kíli, Fíli, Bofur, and Óin after the lakeshore scene. And anything surrounding the magic of Kíli’s runestone would be very welcome - perhaps it really was cursed/enchanted, and by giving it to Tauriel, Kíli lost the protection Dís had placed upon him and passed it to her. What if Tauriel had returned it before the end - would Kíli have lived, and she died? Or, in a canon scenario (in this case, full angst is welcome) what if Tauriel and Dís met and talked about the stone and its properties?

Hilda Bianca

I just think she’s neat. I’d love to see her getting involved in the politics of a rebuilt Dale, either collaborating with or causing problems for Bard. Her being a mentor figure for Sigrid and Tilda would also be great.

~~~

Book of Lost Tales Request

Group: Ómar & Salmar

Ómar Amillo and Salmar Lirillo were brothers in early stages of the Legendarium - I would love to see that explored in a more Slim-compliant verse, where they are both Maiar. Ómar could be a Maia of Ulmo, like Salmar is, or a Maia of some other Vala. Music and water are intrinsically connected in Arda’s makeup, so Ómar as a being of song and Salmar as a being of water would be really cool to see explored somehow!

Meril-i-Turinqi

Another really neat character!! I headcanon that she is the child of a grandson of Olwë and a granddaughter of Ingwë. How did she rise to power on Tol Eressëa? What are her relationships with her great-grandfathers? Is she friends with other influential elf-women - perhaps Elenwë or Amárië or Galadriel?

~~~

Silm Requests Russingon Request

Russingon tags: Maedhros, Fingon, Group: Fingon/Maedhros, Original Character from Himring, Group: Fingon/Finrod/Maedhros Suggested worldbuilding tags: Elven Gender Constructs, Hair and customs/kinks around it, LaCE as a social construct, Melotorni & Meletheldi, Onnalúmë

Russingon is my OTP, I just love them a lot!! I adore both plot-heavy explorations of their characters and relationship and more slice-of-life fluff/angst/porn stuff without any particular story behind it. If I need comfort fic this pairing is my go-to, and I’d love to have more of that to come back to. PWP would be welcome; plot is also excellent and I’m sure to enjoy that too. I’m always a sucker for falling in love / confessions of love / first times, but ESPECIALLY for Russingon; the beginning of their love story is something I’ll never get tired of. Established relationship, reunions (after the Ice/Angband or after time spent apart in Hithlum/Himring or after leaving the Halls or another scenario) are also amazing. The secret relationship aspect of this ship is very fun, both keeping things secret and having their secret come to light. If you wanted to invert that trope, though, I would definitely enjoy that; something like a fake dating AU or an arranged marriage AU or a situation where they get pregnant and have to tell people. It would also be great to see them trying (and failing) to keep their relationship a secret while they are in Beleriand - outsider POV from a resident of Himring would be great here! I like scenarios where they’re married, and I like scenarios where they’re not married, whichever floats your boat will be excellent. Honestly, I’m likely to enjoy almost any Russingon content you write; I just… *clenches fist* love them… If you wanted to explore a queerplatonic interpretation of them that would be really cool, but I do love love love romantic/sexual Russingon and would be overjoyed to have any content about them! In my DNW I mentioned that I don’t like the concept of soulmates (for Aro Reasons) so please steer clear of that, but having Mae and Finno choose each other over and over again and that affecting their soul bond/mental connection might just bring me to tears ;-;

I adore Fingon on his own - he’s brave and valiant and good-hearted and deserved better ;-; If you wanted to write a Fingon-focused story that touches on his time as a prince or a king or adjusting to re-embodied life in Valinor or his relationships with people other than Maedhros, I am sure to love that.

Maedhros is probably my favorite character in the Silm. I love his character arc, the fire symbolism, his trauma and recovery, his relationship with his brothers and his cousins, his time helping Maglor care for Elrond and Elros - really all of his story. For this exchange I’d rather not receive a fic focused on his time in Angband or his death; I can enjoy fics about that, but I’m looking for something a bit happier here. Art of Maedhros in those situations would be okay.

When it comes to throwing Finrod into the mix with Russingon, what I’m really looking for is some smut, tbh. Maedhros and Fingon are ridiculously in love, and Finrod is a bit of a hoe, and I can’t believe there wasn’t at least one time they had a threesome. Finrod getting fucked by both of them at once would be excellent. Finrod is canonically friendly with the Fëanorians in Beleriand and goes hunting with Maglor and Maedhros, maybe this is a time where it’s Fingon instead of Maglor and they fuck in the woods, or Maedhros and Fingon visit Nargothrond, or Maedhros and Finrod visit Barad Eithel, or Fingon and Finrod visit Himring. Is this a planned encounter? Something spontaneous? Is Finrod seducing them both, or are they inviting him in? Did Maedhros and Finrod have a fling in Valinor, or did Finrod and Fingon find comfort together on the Ice, or both? I’d love to see where you take this!

When it comes to the worldbuilding tags, I’d love to see an exploration of gender and sexuality in relation to Russingon. I adore trans depictions of both Maedhros and Fingon, so that would be extremely welcome - you can also explore how elvish gender concepts differ from our understanding of gender and transness (I mused about that a bit in this post, along with thoughts on elvish naming traditions, if you’re looking for inspiration). LaCE is such a tricky topic, and I would definitely be interested in Mae and Finno experimenting sexually and discovering what is and isn’t biological about those concepts, and what is actually a cultural construct the elves have adhered to over time. Hair customs (what braids mean, hair coverings, etc) are really interesting - and a GREAT opportunity to include some hair kink! I mean, Finno has those gold braids and Mae’s name “Russandol” refers to his hair, I bet they are into each other’s hair.

Regarding the concept of melotorni, I can easily see that as either gay-coding or queerplatonic love; I’d love to see either or both those options explored with Russingon. (As for meletheldi, I mean, if you wanted to make them girls I would be super down for that too. I’m okay with genderbending, though I do prefer trans/nb headcanons, and I definitely don’t want them genderbent to be “straight.”) And as for Onnalúmë - well, that’s just heat fic, isn’t it? ;)

The bottom line for Russingon is that I Love Them and they love each other, and for this request I’d love PWP, fluff, hurt/comfort, falling in love, getting together, reunion, established relationship - really almost anything with them would absolutely make my day!

Russingon & kids tags: Gil-galad, Erien, Group: Erien & Gil-galad, Group: Fingon/Maedhros & Erien, Group: Fingon/Maedhros & Erien & Gil-galad, Group: Fingon/Maedhros & Gil-galad, Group: Erien & Faniel Suggested worldbuilding tags: Elven Naming Traditions, improbable parentages for Gil-Galad

The only thing I love more than Russingon is Russingon with KIDS!! I’m a sucker for Russingon as the fathers of Gil-galad, and recently I’ve decided to adopt Erien, a discarded daughter of Fingon, into my personal canon as a Russingon daughter. Exploring either Gil or Erien’s relationship with their dads would be wonderful - and, if they exist in the same universe, their relationship with each other!! (I recently wrote a novel-length fic about Erien being Tauriel, if you’d like to borrow some concepts from there, but that’s certainly not my “usual” interpretation of either of them so feel free to make up your own Erien origin story too!) I was very excited to see that someone else nominated an Erien relationship - Erien and Faniel is a great concept! I usually headcanon Faniel as the daughter of Findis and Elemmírë and the younger sister of Glorfindel, but if you have a different origin story for her that would be really neat as well. Discarded Finwëan daughters ftw! Russingon having kids would be a great place to explore elven naming traditions, how gay elves would name their kids (two father-names??), and maybe the Fëanorian tradition of -finwë names :p I definitely selected the “improbable parentages for Gil-galad” with trans!Russingon in mind, but if you’ve got another situation (that one fic where Finrod, Fingon, and Maedhros do Weird Science with a Maia comes to mind...), be my guest.

Kidnap Dads tags: Elrond, Group: Elrond & Elros, Group: Elrond & Gil-galad, Group: Maglor & Maedhros & Elrond & Elros Suggested worldbuilding tags: Choice of the Peredhil

I threw in Kidnap Dads into this request as well :) I firmly believe this relationship was, in the end, mostly a positive one despite the rocky beginning - I don’t want to see E&E hating M&M, and I also don’t want to see them resenting their birth parents either (however, their bio parents interacting with their foster parents in awkward/humorous situations would be great). Fluff would be wonderful, but some post-WoW angst would be welcome as well. Elrond and Gil-galad Russingonion considering each other brothers because of their shared father Maedhros is a favorite headcanon of mine! I really would love to see a focus on Maedhros and the E twins; Maglor can of course be involved, but I’m more interested in Maedhros as a character.

Some possible scenarios: an official adoption ceremony, cultural differences, M&M giving E&E some more names / teaching them Quenya, sharing traditions, Maedhros teaching the twins some skill (cooking? swordfighting? embroidery?), the twins being Weird (either because they’re part human or part Maia) and M&M learning to deal with that, Elrond reuniting with Maedhros in Valinor, Elrond getting adopted by M&M’s spouses (Maglor’s spouse and/or Fingon), AU where Maedhros lives and is around for E&E’s later lives

Exploring the Choice of the Peredhil would also be great. How did being raised with M&M affect E&E’s decisions when it came to their Choices of kindred? Were there any Men in the remnants of the Fëanorian host, and did that affect their Choices?

And since this is technically under the umbrella of the Russingon request, of course Maedhros telling E&E about his husband would be amazing. (And quite probably heartbreaking, too...)

~~~

Maeglin Request

Reminder that I am not at all interested in irredeemable/evil Maeglin; I am a known Maeglin sympathizer and I will not apologize for that.

Maeglin & Fëanorians tags: Maeglin, Group: Dwarves & Maeglin, Group: Caranthir & Dwarves & Maeglin, Group: Maeglin & Fëanorians Suggested worldbuilding tags: Cross-Species Mentorships, Differences between Dwarf craft and Elf craft, Elven magic and art and technology, Maeglin Adopted by Fëanorians AU

I would adore an AU where Maeglin is adopted by the Fëanorians!! Maybe Maeglin escapes to Himring instead of Gondolin after his capture, and Maedhros helps him deal with Angband trauma? (I know that doesn’t really make sense timeline wise, you figure out the details, lmao. Maybe it’s actually taking place in Ossiriand, idk, or the timelines get moved around.) Otherwise, I’d love to see a younger Maeglin interacting with the Three Cs and dwarves!! A focus on craft and smithing would be wonderful, in that scenario.

Maeglin in Gondolin tags: Turgon, Group: Anairë & Maeglin, Group: Fingolfin & Maeglin, Group: Eärendil & Maeglin, Group: Idril & Maeglin, Group: Idril/Maeglin/Tuor, Group: Maeglin & Rôg Suggested worldbuilding tags: Metal Dragons

I think Maeglin’s relationship with emotionally repressed Turgon was difficult because of miscommunication, but they did love and care for one another. A version of events where Idril and Maeglin were friends before she found out about his feelings for her, or where they can work through that, would be really interesting to read. I love the idea of Maeglin begrudgingly coming to love Eärendil even though he’s Tuor’s child; I think that Eärendil’s mithril coat was made by Maeglin as a precaution against himself and the curse Morgoth placed upon him (I also think this is the origin of Bilbo’s mithril coat). Rôg is usually depicted as an Angband escapee; him noticing something wrong with Maeglin and figuring out about his capture would be a great story. Idril/Maeglin/Tuor is a great concept, especially Maeglin being upset about Idril and Tuor’s marriage because he’s in love with both of them - a threesome where finally gets what he wants (and some consensual rough treatment??) would be excellent. Also, some post-reembodiment fic where Maeglin gets to meet his grandparents would be amazing!! As for the metal dragons, some focus on Maeglin’s craft combined with the magics of Sauron and Morgoth would be really interesting. I would prefer if it Maeglin’s time in Angband was Pretty Bad (though I’d rather not have torture depicted on the page), and show him struggling with the excitement of being able to bring these incredible creations to life versus the knowledge that Sauron and Morogth can and will abuse him to get what they want. I’m not particularly interested in a sympathetic portrayal of Sauron and Morgoth.

Maeglin, Túrin, and Tyelpë tags: Túrin, Group: Celebrimbor/Maeglin, Group: Turin & Anglachel, Group: Maeglin & Anguirel, Group: Maeglin/Túrin Suggested worldbuilding tags: Bedazzling as a love language, Celebrimbor forging Gurthang, Sentient Weapons & Jewelry

OKAY so Maeglin/Turin is my rarepair OTP and I would absolutely die of happiness if you wrote this ship! For this request I’m envisioning a scenario where Maeglin goes to Nargothrond and that’s where he encounters Túrin. I’m also interested in Maeglin/Tyelpe, so throwing him into the mix would be fabulous. One of my favorite aspects of this ship is Maeglin and Túrin’s connections to Anguirel and Anglachel, so having them bond over that (maybe a literal bond...like a soul bond or something???? enforced by the semi-sentient swords??) would be excellent. I definitely believe Celebrimbor was the one to reforge Anglachel into Gurthang, so that could be a way of getting him involved. (Him ~bedazzling~ the sword as a way of flirting with Túrin would be hilarious; or just smiths bedazzling their creations to impress each other in general, lmao.) It’s also quite likely that in this scenario that Maeglin arrived in Nargothrond with Celegorm, Curufin, and Celebrimbor (and possibly Aredhel, though I was kind of envisioning her as dead in this scenario, RIP - or otherwise not present, much like how C&C have been banished by the time Túrin shows up), so he would have a preexisting relationship with Tyelpë. Maybe they broke up? Maybe they’re awkwardly pining and Túrin is what brings them together? Or some other situation. This ship is doomed no matter how you twist it, and so digging into the dramatic irony of it all would be delicious; happy endings are optional for this request.

Maeglin & Aredhel in Himlad & Nargothrond tags: Aredhel, Group: Aredhel & Oromë, Group: Celegorm/Aredhel & Maeglin & Curufin & Celebrimbor, Group: Curufin/Finrod & Celebrimbor Suggested worldbuilding tags: Aredhel and Maeglin Remain in Himlad, Aromantic Aredhel

This is kind of similar to the previous request, but with a focus on Aredhel, Celegorm, and Curufin as well as Maeglin and Celebrimbor. I would love an AU where Maeglin and Aredhel go to Himlad instead of Gondolin, and eventually end up in Nargothrond - I really can’t get enough of this concept! What happens with Eöl; does Curufin actually kinslay him this time? How do Maeglin and Tyelpë get along? My Aredhel is always aromantic, but I do ship her and Celegorm as FWB (though maybe Celegorm’s caught feelings somewhere along the line...) - how does Maeglin feel about her rekindling that relationship? I’d definitely be interested in a story about Celebrimbor being a Curufinrod baby (trans!Curvo ftw), so that would make returning to Nargothrond extra tense and emotional. As for Aredhel and Oromë, I have this headcanon that Anairë gave all her children Valar-related mother-names, and that Aredhel was named Írissë Aldarindë after Oromë Aldaron. How does she feel about that name and her connection to Oromë? I don’t think she ever actually joined his Hunt like Celegorm did; why is that? Did Celegorm discourage because he’d adopted his father’s anti-Valar sentiment and left the Hunt? Did she just get involved too late, and then the Darkening happened? How do her and Celegorm’s relationships with their patron Vala differ in Beleriand? I think they were both Kinslayers at Alqualondë, but Celegorm is bound by the Oath and Aredhel isn’t - how does that affect things? Can Aredhel and Maeglin’s presence change how Finrod’s demise goes down? All sorts of fascinating things you could explore!

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Misc. Silm Request

Cuiviénen tags: Original Awakened Elf of Cuiviénen (Silm) Suggested worldbuilding tags: In-universe Origins of LaCE, LaCE as a Horror Concept, LaCE as a social construct, LaCE-compliant soulbonding, Non-romantic/sexual Soul Bonds

I’d love to see an exploration of how LaCE came to be, which parts of the rules around marriage and children and re-embodiment are social constructs and which are innate to the fëa and hröa, and/or relationships that defy the norms. If your take on the laws is hetero/cisnormative, how does that affect queer elves? If your take is free of bigotry, what are the flexibilities around queerness, including asexuality and aromanticism? Laws and customs and rules always have loopholes and exceptions, so what do elves who don’t fit into the expected relationship mold do about these norms?

How do soul bonds work on a metaphysical level? Can they be broken? Do they have to be nurtured and maintained? What’s long-distance communication like? Heck, what’s short-distance communication like, is it like talking in your mind or sharing your feelings or more abstract than that? Can elves form soul bonds with mortals? And most importantly—how did elves figure out they could soul bond with one another?? I can imagine that would be quite a shock when they’re discovering sex and then suddenly they’re inside each other’s minds! This could easily be tied into the “LaCE as Horror” tag; especially if the characters were not expecting it or the bond was being abused. (If you do decide to explore abuse, I would prefer you use OCs rather than canon characters, unless you want to write Eöl abusing Aredhel or Sauron abusing Celebrimbor. In any case, please be careful with that kind of relationship, I am quite sensitive to abuse in fiction even if I am interested in this subject.)

For non-romantic and/or non-sexual soul bonds: Explore sibling bonds, twin bonds, parent-child bonds, queerplatonic bonds, found family bonds, adoption bonds, the bond between a Vala and their Maia…any kind of soul bond that is familial or platonic or chosen without regard to romance! (Feel free to take a canon romantic relationship and turn it queerplatonic, I live for that shit!) How are these bonds formed outside of sex? What are the rituals and ceremonies around forming them? Is it a public or private thing? Are non-romantic soul bonds taken seriously, or are they seen as less important than marriage bonds? Since elven parents literally give part of their soul in the creation of the child, is that parent-child bond innate? What are traditions around elven adoption? Are there soul bonds created between the adoptive parents and children? Was adoption even a thing in Aman, or is it only practiced in Middle-earth? Did elves adopt mortals and vice versa? Is adoption extended to found family other than a parent-child situation? How is adoption viewed by elvish society, especially if inheritance/succession is a concern?

Turgoldo tags: Group: Finrod/Turgon, Group: Mariners send by Turgon to Aman Suggested worldbuilding tags: Songs of Power

This is my rarepair to end all rarepairs tbh. I honestly don’t know why these two are not shipped more! I am desperate for any and all content with them, I am not picky at all, I just love them.

Fun times in Aman before things get dark and serious would be lovely, I think in that context their relationship would be more casual (or at least they’re trying to make it casual and that leads to hurt feelings). I’d rather not focus on their relationships with their canon love interests, mostly because I’m not a fan of stories about jealousy (also because I see both Finrod and Amarië as gay and together mostly for convenience’s sake AND/OR they’re in a queerplatonic relationship, not a romantic/sexual one), but I do ship Elenwë/Amarië so those two having some sort of polyamorous arrangement with Finrod and Turgon could be fun. But feel free to just ignore any of that and depict Finrod and Turgon together without their respective ladies!

If you go into Beleriand times, I like: Turgon grieving Elenwë and finding solace with Finrod; whatever went down that night by the river they never wanted to talk about again; helping each other build their hidden kingdoms; Finrod sneaking into Gondolin maybe??; repressed Turgon being angsty about discovering his bisexuality and Finrod either helping him or making things more complicated; Finrod missing Turgon and trying to distract himself in Nargothrond (maybe in combination with another Finrod ship? honestly I ship Finrod with any dude that moves, feel free to put your own spin on his relationships, though I would prefer a focus on Turgon/Finrod for this request). Post-reembodiment scenarios would also be great.

Or maybe you want to do an AU with them! Supernatural creatures? Some other fantasy setting? A space opera? Honestly the only AU I wouldn’t be interested in is a modern AU, I’m very picky with my Silm Modern AUs. Honestly like I said earlier, I would love ANY content with Finrod and Turgon, you’d make me very happy if you depicted them together!! Feel free to ignore any of the stuff I said if you’ve got a better idea!!

Regarding the mariners sent to Aman: maybe Turgon is trying to pass a message along to a re-embodied Finrod along with the general cry for help to the Valar? And for “Songs of Power” I was thinking about Finrod’s rap battle with Sauron, and if there was any precedent for him being musically/magically powerful before then that Turgon could have witnessed.

Misc. worldbuilding tags: HoME/UT backstories and events that contradict the Silm, Dragons hunted for their leather, Ossiriand and the Laiquendi

I love incorporating other drafts of stories into the “main” version of the Silm! Please feel free to tweak early concepts to fit the later Legendarium, and definitely explain yourself in the author’s notes, I love that shit.

I can totally see dragons or adventurous Avari hunting dragons for their hides. You could also maybe explore this with the corpse of Smaug in the Long Lake; dwarves harvesting scales as a precious resource, or something?

In writing my recent Tauriel longfic I came to love the Laiquendi of Ossiriand. I’d love to see a nuanced exploration of their cultures - who were their leaders after Denethor? Were they really all nonviolent, or did some fight in self-defense or choose to join the Union of Maedhros? What was their relationship with the Fëanorians, both before and after the Nírnaeth? Do they consider themselves Avari? Do other elves consider them Avari?

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Númenor Request

Early Númenor tags: Group: Elros/Elros's Wife (Silm)

Idk, I just think they’re cute. I have an OC for Elros’ wife that I love, and it would be awesome if you wrote something with her! Or you can use your own OC, whatever you’d like :)

Late Númenor tags: Group: Amandil & Ar-Pharazon & Tar-Míriel, Group: Inzilbêth & Tar-Míriel, Group: Míriel & Tar-Míriel, Group: Elwing & Tar-Míriel Suggested worldbuilding tags: Númenórean Settlements in Middle-earth, Peredhil Heritage in Numenor’s art & culture (Silm)

Amandil, Pharazôn, and Míriel’s childhood friendship is really interesting to me (especially if you throw in Elentír as well!). Would love to see how that dynamic changes over time, Pharazôn’s time conquering in Middle-earth, and their varying opinions about their heritage as the descendants of peredhil. I’m not really interested in portrayals of Pharazôn and Míriel’s relationship as healthy or even consensual; I’d rather you didn’t dwell too much on the abusive aspect, but even when I incorporate the story of Elentír I like to preserve the narrative present in the Silm where Pharazôn takes Míriel to wife against her will.

I never really thought much about Inzilbêth and Míriel, but now I definitely am! How does Míriel feel about her faithful grandmother? I see Míriel as not particularly faithful in the Valar, not like her father, but more politically against the King’s Men; does Inzilbêth try to instill faith into her granddaughter like she did her son?

I’m not sure how Míriel Þerindë or Elwing would interact with Tar-Míriel (perhaps Míriel Þerindë weaves her story? or they meet in Mandos before Tar-Míriel leaves to receive the Gift of Men? - maybe Elwing watches over her descendants from Eärendil’s ship, or flies to visit Númenor before its fall?) but I’m now interested in how that might happen, and what kinds of advice they would pass on to her. Also, if you go with Tar-Míriel and Míriel Þerindë, I’d love to see a silver-haired Tar-Míriel to mirror Þerindë! (also, “fairer than silver or ivory or pearls” makes a great image for a silver-haired Tar-Míriel)

Tar-Silmariën AU tags: Worldbuilding: Silmariën Becomes Queen of Númenor AU

GOSH everything would have been SO different if she had been able to rule! Would her descendants have been corrupted like her brother’s? Would Aldarion and Erendis’ marriage end so badly if he didn’t have the pressure of kingship? If the roles in the Amandil-Pharazôn-Míriel dynamic were reversed, how would that change things? Would Sauron get involved? There are SO many directions you could take this, I’d love to see any of them!

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Alright, that’s the end of my prompts/requests! Thanks for reading this far, and whatever you end up writing for me I am super excited to read it!! And if you have questions or ideas or something, my askbox is open and I have anon messages on, I’d love to talk! Thank you again for creating for me, you are the best! <3

#is21 #exchange letter

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