24 4 / 2014

taikonaut:

I FUCKED UP.
DON’T LOOK AT ME.

taikonaut:

I FUCKED UP.

DON’T LOOK AT ME.

(Source: grindlebone, via hats-and-horses)

24 4 / 2014

reachingformyself:

initialexpectation:

I just want to give my two cents on this and tell you a story.

A couple weeks ago, I was hired at Target. I have a job at Target. Not a big deal right?

It is a big deal because i’m a transman

It doesn’t take a genius to conclude that it’s hard for me, my brothers, and sisters to get a job. There are legal restraints regarding the job and if you don’t pass, it’s hard to be taken seriously at a job interview.

Right on the application, it asks what your preferred name is. It also asks if there is anything that target should know. I put the fact that I am a transman, expecting not to get a call because usually when you put that down, people will throw out the application. I got TWO interviews.

At the interview, they asked me about it. I told them I am on hormones and they told me that they didn’t care. Not in the sense that they don’t emotionally care, but that it didn’t matter. I was male and that’s all that mattered. They also told me that they give sex same couples benefits in states that do not recognize them as a married couple.

At my job orientation, I was not misgendered once. Even my supervisors who weren’t sure of my gender avoided pronoun use, which I found only happens when you’ve had pronoun training. They gave me a name tag with my preferred name and didn’t ask questions. I felt safe and respected, which is huge for a trans* person.

TLDR: Target is amazing not just for the LGB, but also the T. Shop there for the rest of your life.

Awesome!

(Source: astrolope, via cyrilthewolf)

24 4 / 2014

makochantachibanana:

here-on-this-island:


teyaberri:


akuthekoboldthatcould:


lukethreepwood:


believe-in-breathing:


This is me all the time.


I CAN’T EVEN HANDLE THAT WALK


This pretty perfectly sums up conventions.





IT GOT BETTER


HELLA BETTER

makochantachibanana:

here-on-this-island:

teyaberri:

akuthekoboldthatcould:

lukethreepwood:

believe-in-breathing:

This is me all the time.

I CAN’T EVEN HANDLE THAT WALK

This pretty perfectly sums up conventions.

image

IT GOT BETTER

HELLA BETTER

(Source: togifs, via datsweetberrypunch)

24 4 / 2014

surely-heaven-waits-for-you:

straight-as-a-curly-fry:

Ron’s just like “srsly tho, we’ve been dealing with this sh** since 1st year. Dude’ll be fine, you watch. He’s gonna be walkin in those doors in like three seconds carrying a flock of unicorns he saved from an acromantula”

carrying a flock of unicorns he saved from an acromantula

(Source: ladyponds, via slashfilled-mind)

24 4 / 2014

(Source: oberlyn, via slashfilled-mind)

23 4 / 2014

vein13:

serenading-the-unicorn:

gymleaderkarkat:


What are you so afraid of!?

I’m REALLY sorry but it looks like they’re about to rap battle



it got better

vein13:

serenading-the-unicorn:

gymleaderkarkat:

What are you so afraid of!?

I’m REALLY sorry but it looks like they’re about to rap battle

it got better

(Source: four-big-idiots, via very-best-text-posts)

23 4 / 2014

ask-applejack-and-apple-bloom:

indexefn:

This horse needs more love. 

All the love.

(via thunrainpark)

23 4 / 2014

tentacuddles:

the-treble:

afternoonsnoozebutton:

Can we all just talk about Promise Phan (dope2111 on Youtube) real quick?

… Someone get this girl into cosplay.

23 4 / 2014

fashionsfromhistory:

Field Armour of Henry VIII
c.1544
Italy 

This impressive armor was made for Henry VIII (reigned 1509–47) toward the end of his life, when he was overweight and crippled with gout. Constructed for use both on horse and on foot, it was probably worn by the king during his last military campaign, the siege of Boulogne in 1544, which he commanded personally in spite of his infirmities. Originally, the harness was fitted with a detachable reinforcing breastplate, to which a lance-rest was attached, and a reinforce for the left pauldron (shoulder defense). A pair of exchange vambraces (arm defenses) remains in the Royal Collection at Windsor Castle.
The armor is described in the postmortem inventory of the king’s possessions, drawn up in 1547, as “of italion makinge.” Possibly, it was supplied by a Milanese merchant known in England as Francis Albert, who was licensed by Henry to import luxury goods, including armor, into England for sale. Subsequently, the armor was given to William Herbert (ca. 1507–1570), first earl of Pembroke, Henry’s esquire and an executor of his will. It is recorded at Wilton House, seat of the Pembroke family, from 1558 until it was sold in the 1920s. By the end of the eighteenth century, and until very recently, the armor was erroneously identified as having belonged to Anne de Montmorency (1493–1567), Constable of France, its royal English ownership having been forgotten.
The armor is an early example of the “anime” type, in which the breastplate and backplate are constructed of horizontal overlapping plates connected and made flexible by rivets and internal leather straps. The decoration, consisting of foliage, putti, running dogs, and Renaissance candelabra and grotesque ornament, is typically Italian.

MET

fashionsfromhistory:

Field Armour of Henry VIII

c.1544

Italy 

This impressive armor was made for Henry VIII (reigned 1509–47) toward the end of his life, when he was overweight and crippled with gout. Constructed for use both on horse and on foot, it was probably worn by the king during his last military campaign, the siege of Boulogne in 1544, which he commanded personally in spite of his infirmities. Originally, the harness was fitted with a detachable reinforcing breastplate, to which a lance-rest was attached, and a reinforce for the left pauldron (shoulder defense). A pair of exchange vambraces (arm defenses) remains in the Royal Collection at Windsor Castle.

The armor is described in the postmortem inventory of the king’s possessions, drawn up in 1547, as “of italion makinge.” Possibly, it was supplied by a Milanese merchant known in England as Francis Albert, who was licensed by Henry to import luxury goods, including armor, into England for sale. Subsequently, the armor was given to William Herbert (ca. 1507–1570), first earl of Pembroke, Henry’s esquire and an executor of his will. It is recorded at Wilton House, seat of the Pembroke family, from 1558 until it was sold in the 1920s. By the end of the eighteenth century, and until very recently, the armor was erroneously identified as having belonged to Anne de Montmorency (1493–1567), Constable of France, its royal English ownership having been forgotten.

The armor is an early example of the “anime” type, in which the breastplate and backplate are constructed of horizontal overlapping plates connected and made flexible by rivets and internal leather straps. The decoration, consisting of foliage, putti, running dogs, and Renaissance candelabra and grotesque ornament, is typically Italian.

MET

(via art-and-sterf)

23 4 / 2014

art-of-swords:

Silver-Encrusted Swept-Hilt Rapier

  • Dated: circa 1610
  • Culture: German
  • Measurements: overall length 125 cm / 49.2 inches

With a hilt of blackened iron, formed of oval bars, comprising a pair of horizontal quillons, the sword has a pair of arms each supporting an outer-guard of three rings diminishing in size towards the base. The upper two rings are canted towards the pommel, while the largest ring is joined by a branch to the knuckle-guard and the lower ring filled with a sprung-in solid plate.

The inner-guard of four more slender bars splayed from a common root emerging diagonally from the middle of the knuckle-guard, their four opposite ends grouped in twos and joined to the median points and to the heads of the arms respectively, with large gadrooned globular pommel rising to a button over the apex of the blade tang, and moulded wooden grip bound with wire between wire Turk’s heads.

The pommel and the outer surfaces of the bars profusely decorated with silver-encrusted ornament chiselled in low relief and inspired by the published engravings of Etienne Delaune, constructed as spiralling patterns of leafy strawberry tendrils carrying both flowers and fruit, enriched with pellets and framing a series of three cherub masks at the centre of the outer-rings.

The inner surfaces decorated throughout with delicate patterns of scrolling foliage lightly damascened in silver, and the plate set within the base of the outer-guard damascened en suite and involving a hare pursued by two hounds.

The blade of characteristically slender tapering form, of flattened hexagonal section towards the base, with flattened rectangular ricasso, and struck with a series of small decorative marks enclosing a two-part neo-Italian bladesmith’s signature stamped within the fuller on both sides, the outer face stamped “A.N.T.O.N.I.O.” and the inner stamped “P.I.C.I.N.I.N.O.”

Source: Copyright © 2014 Peter Finer