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imagine-loki · 6 years

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If I could Turn Back Time, I’d Still Choose This

TITLE: If I could Turn Back Time, I’d Still Choose This

CHAPTER NO./ONE SHOT: Chapter 33

AUTHOR: wolfpawn

ORIGINAL IMAGINE: Imagine that when Odin found Loki on Jotunheim, he did not take him to raise as his son, as Frigga was pregnant at the time, instead he was given to a normal Aesir family. Years later, Loki meets Odin’s daughter Sigyn, and trouble ensues.

Sigyn sat politely listening as Fandral’s mother nattered on and on about inconsequential matter through the dinner, his father, she was amused to see, was a quiet man, saying little to his wife as she continued to tell the table of how Lady Isabella had the audacity to outright copy Lady Evanna’s drawing room layout and not even having the decency to alter the colour to make it seem like she had not done so. Fandral looked at her apologetically while Sigyn gave the slightest shake of her head, dismissing his concerns, though there was a slight smile on her face at the mundane issues that clearly bothered his mother.

There were a few mentions of the wedding, but for the most part, Fandral and Sigyn made it clear that they were not concerning themselves too greatly with the issue at that present time.

‘I apologise.’ Sigyn looked at Fandral as he walked her through his parents’ home as she went to take a carriage back to the palace.

‘It’s fine, if anything, it was refreshing.’ Fandral gave her a look of disbelief. ‘Have you any idea how envious I am that your mother’s chief concern in like is Lady Isabella’s choice in drawing room decor, Norns I wish I had so little to worry me. She is to be envied, it means she is relatively happy with her lot.’

Fandral thought about her words. ‘She is, from what I gather.’

‘Then, yes, she is enviable. Although, I am curious, is that what you want in a wife, a woman like your mother?’

‘Yes, I do. I know she is not the most educated woman in the realms and I know she is not seen as too beautiful, but she and my father were a love match and as you can see from the fact I have four siblings, they are still very happily wed.’

Sigyn smiled slightly and nodded. ‘Yes, that is clear to see.’

‘You don’t approve of such a woman though, do you?’

‘I just find it funny that you thought to ask to court me if that is what you wanted. I am in no way like your mother.’ She explained. ‘I don’t think the princess who broke all protocol with her actions with a commoner has the right to disapprove of anyone, do you?’

‘I find myself very curious as to what exactly happened to make this such a situation that the Allfather would all but drag you into a marriage.’

‘I disappointed him, more than usual.’ she shrugged.

‘If you knew your actions through the years were not aiding your relationship with him, why did you do it?’

‘Because it was the…’ she swallowed. ‘I did it for the wrong reasons and I paid a cost I never thought possible.’

‘Marriage to me?’

Sigyn scoffed. ‘Norns, there are far worse things, I can assure you.’

‘And the Allfather made it that you cannot...’ he ceased speaking as she raised her chin, revealing the choker to him. ‘I never thought….’

‘Odin is still a good king, I can acknowledge that.’

‘Do you hate him?’ She did not answer. ‘And the Allmother?’ Again, Sigyn said nothing. ‘I really am missing a large portion of this story, aren’t I?’

‘Yes.’ She acknowledged. ‘I wish I could tell you.’

‘Thank you, I think Thor feels the same.’

Sigyn gave a small smile before sensing something and leaning in against him, causing Fandral to frown slightly. ‘Your mother is looking at us, with who I can assume is your brother, I have not seen him in a hundred years, he is a bit bigger than he was before.’

‘It is terrible for the waistline when your wife happens to insist on pies for dinner most days.’

‘I think he will rival my father if he is not careful.’

Fandral chuckled as he put his arm around her. ‘Is this weird, loving him and having to do this with me?’

‘No, because there is no conflict in my mind, there is only him, everything I am doing now, is to…’

‘You are trying to get back to him.’ Fandral realised. ‘How, the Allfather will not just let you run off realm?’

‘I have to try.’

‘Why?’

‘Because……’ she tried to force it out but was unable to. ‘You can’t understand.’ She looked sadly at him before leaning up and kissing him for show in front of his spying mother, who Sigyn ensured was unable to hear them.

‘You’re really good at that.’ Fandral noted almost suspiciously.

‘You’re alright too.’

‘Only alright? Or not him.’

‘I don’t know, maybe you hit the nail on the head with that.’

‘How do you know he is being as loyal to you?’

‘I trust him.’

‘You really do love him.’

‘Yes.’ Was all she whispered on the matter. ‘Thank you.’

‘For what?’

‘The evening.’

‘You’re kidding, right? My mother….’

‘Is not all that bad, she sweats the little things, there’s nothing too wrong with that.’ Sigyn smiled. ‘When this is over Fandral, I swear I will not rest until I find you the sort of woman that would love the role you wish for a wife.’

‘If this ever ends.’

‘Nothing lasts forever, this feels like forever, but it’s not.’

Sigyn paid little notice to her surrounds as she walked through the palace. She had little interest in anything in her environment. All she cared about was finally getting to see her sons, to hold them. She had no idea when that would be, but she swore to herself several times a day, it was going to happen.

She only became aware of anything of note when two Einherjar stood in front of her, blocking her path. ‘Yes?’ She asked, terrified in her mind of what her father would want the two guards to do with her.

‘The Allfather requests you join him in the private rooms, immediately.’ The more senior Einherjar informed her.

‘Wonderful.’ When they did not move, she sighed. ‘It is a request or am I to be escorted?’ Their lack of response made it clear which it was, which concerned her greatly. Using her seidr to arm herself unbeknownst to them, she walked on, the pair following behind her.

When she got to her parents quarters, a guard posted at their door opened it for her without even announcing her inside. Readying in case she needed to defend herself, she walked in. Inside was her father, standing looking at something on a scroll she could not read from that distance, as though sensing her glaring at him from behind, he turned to face her. ‘Leave, everyone, now.’ He ordered. Any staff that were in the room as well as the guards, all make a hasty exit.

‘Is something the matter?’

‘You were with Fandral’s family this evening, I believe?’

Sigyn was in no humour for small talk with her father. ‘I was.’

‘Interesting affair?’

‘Only if you care that one lady is after stealing the layout of another’s drawing room.’

‘I beg your pardon?’

‘Fandral’s mother was scandalised as to the actions of Lady Isabella in her mimicking Lady Evanna’s drawing room, it was a big fuss apparently, we miss all the scandal here in the palace.’ She threw her eyes up.

‘I see,’ Odin eyed her carefully. ‘Did any topic of actual interest arise this evening?’

‘Do you think a whole evening would pass without the mention of this wedding? I have been informed that Fandral’s nephew and nieces are all adamant they play a part in this. So now I have to check about getting dresses made for little girls, is that what you are referencing?’ Odin eyed her even more studiously. ‘Or you could just tell me what the Hel you dragged me here for because I can tell by the look on your face it is nothing to do with idle chit-chat or my evening in general, there is a particular reason for this conversation, so for Norn's sake, spit it out.’

‘You tried to mention the past.’ Odin stated factually.

‘I was asked when I planned on adding to their family line and how motherhood would suit me, I wanted so badly to say the truth, that I already know some of it, but I could not, you made sure of it.’

‘You cannot move on if you live in the past.’ Odin growled. ‘What good would that have done, to mention that? You could have ruined everything with Fandral, do you think he would simply accept you, tainted?’

‘My body will tell him well enough on our wedding day, I am marked from carrying them, he is not stupid, he will notice it, with four to five thousand years of life left, do you think he will never see me unclothed, my marks will be seen.’

‘You will be married then.’

‘So we are okay with entrapment then? Sweeping issues under the rug does not make them go away, it only causes the ground beneath to become uneven and at risk of causing you to fall.’

‘There are some things better left unknown.’ Odin stated adamantly.

‘I am actually beginning to fear what will happen after you die.’ Sigyn admitted, causing Odin to stare at her. ‘What other dirty secrets have you hidden over the years, what shocks are Thor and I going to have to deal with as a result of your actions, how many are even from before we were born?’

‘Anything I have done, I have done for what is right.’

‘Is that what we are going to have to state when wolves descend on Asgard after you decide to pop your clogs?’

‘I am not going to “pop my clogs” anytime soon, don’t you worry.’ He snarled. ‘Go to your rooms.’

‘I will say to you now what I said since I was four hundred, “With pleasure”.’ She turned to leave before looking back at him again. ‘You know, for about two minutes, I thought you actually wanted to know about my evening, if I had a pleasurable time, to check how I was. What sort of sentimental fool I have turned out to be. Those hormones must not be finished with me yet.’ She shook her head as she left the room.

#loki #other #submission #submitted fic #chapter 33 #wolfpawn #If I could Turn Back Time I’d Still Choose This #odin #Jotunheim #frigga #pregnant #aesir #family #daughter #Sigyn #trouble

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xiaoswrld · 5 months

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cryotheatre · 6 months

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Can I ask for envy adams from Scott pilgrim layouts for discord (if you do disord layouts..if not tumblr ones are okay)

YAAAA sorry they might not be the best but they should be uploaded any second ^0^

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samanthasroberts · 6 years

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At the Strangers’ Gate: Arrivals in New York by Adam Gopnik – review

The New Yorker writers stylish memoir, via Hagen-Dazs, Nietzsche and craft beer, is generous in wit and wisdom

Anyone who worries that artificial intelligence might some day outpace the faulty circuitry inside human heads should be cheered by the existence of Adam Gopnik. His brain has nothing to fear from electronic competition. It is an organ housed in a body, kindled by the appetites and affections of the flesh; it operates friskily, risking vast generalities that it clinches with neat, nimble aphorisms. At public events, Gopnik has a loyal but ageing audience; his son, he tells us, “never feels comfortable coming to a reading of mine without a defibrillator”. The precaution is unnecessary: a talk by Gopnik fibrillates furiously enough to revive the most tottery senior citizen.

As his contributions to the New Yorker testify, Gopnik can write brilliantly about almost anything. His new book is nominally a memoir of his first years in Manhattan, where he arrived from Montreal early in the venal 1980s, but its reminiscences are the pretext for a series of dizzy riffs – on art and the artisanal, connecting conceptualism with microbrews; on art and commerce, treating Jeff Koons and his stainless steel bunny as products of “late commodity capitalism”; or on the need to combine elitism in art with egalitarianism in politics, a juggling act that Gopnik manages with deft aplomb.

Along the way there are essays on fashion as evidence for Nietzsche’s philosophy of the eternal return, on the hidden economic logic in the layout of department stores, on the semiotics of Häagen-Dazs ice-cream with its “meaningless pseudo-Danish name”, and on the symbiotic relation between the Sony Walkman and Nike sneakers, which together made the flat-footed Gopnik feel that he was striding, “Hermes-like”, on cushioned and musically resonant air during his weekend treks to SoHo art galleries. When Gopnik remarks that he “wrote about liberal civilisation and my children, sometimes conflating the two”, the last phrase is more than a showy paradox: what could better embody the benign chaos of the liberalism that is now under threat from Trump than a pair of squalling, hungrily aspirational kids?

Gopnik craftily presents his conquest of New York, or of the New Yorker, as a series of happy accidents. He jokes that his gift of the gab, first exercised in off-the-cuff lectures at the Museum of Modern Art, was inherited from “various lost uncles” who “worked as boardwalk pitchmen in Atlantic City”, where they enticed housewives to try novelties like spray starch, and he tells a story – which I assume, for his sake, is fictitious – about glibly improvising a keynote speech to an art-history conference at a few hours’ notice, then making a swift exit with a pocketed cheque.

‘A sleek stylist’: Adam Gopnik. Photograph: Alamy Stock Photo

When the dandified mask slips, Gopnik is frank about the force that propelled him out of a roach-infested cellar and remade him as the very epitome of intellectual urbanity: “ours”, he says, “was the last ambitious generation”. Can it be true that the young no longer have faith in the “old equations of ambition and energy and success”? Perhaps that creed has been replaced by the new equations of celebrity and notoriety and self-destruction, which fuel careers as explosively ephemeral as those of terrorists wearing suicide vests.

Despite his fluency, Gopnik claims to find writing a sad and lonely business. Much of his book is addressed adoringly to his wife, Martha, who, mostly asleep while he tosses in insomniac misery beside her, does not respond to his endearments: are all writers unrequited lovers? Gopnik envies visual artists, who work with graphic, tactile materials – marks on canvas, or stone or metal that can be pummelled or bent into shape – whereas writers “start with nothing, staring into the abyss of language”, and assemble patterns made of words that are “never in themselves beautiful”. Painters and sculptors at least produce objects to be hung on walls or positioned in gardens. Writers, however, are condemned to silence, unless their words are “turned to speech in another head”.

It’s an odd, self-disabling theory, perhaps a consequence of his indoctrination at the New Yorker. The magazine expects its contributors to cultivate a certain tone of voice, relaxed but with a brittle edge that will cut through the chatter at cocktail parties or around dinner tables. Gopnik has perfected the manner, though he wonders with a twinge of guilt whether he should stop being the town’s best talker and go back to staring mutely into the abyss. Listening to the voices of others relieves the pressure: his book makes room for monologues delivered by a series of eccentric acquaintances – a gruff Brooklyn salesman obsessed with Van Gogh, a neighbour who relates an insane saga about the previous occupant of Gopnik’s loft, an exterminator who philosophises while massacring rats in the basement.

These garrulous surrogates rescue Gopnik from solitude, and also help him outgrow the contrariness of the art critic. He summarises his writing life as “a struggle to move from contention to inclusion”, from academic bickering to telling stories about “lives lived”; the argumentative conjunction “but” has been replaced, he hopes, by a looser, more inviting “and”, which enables him to construct sentences whose generous openness “embodies a liberal view of life”. A sentence, he suggests, need not be a penal term: it can set you free instead of imprisoning you. Performed by him, such verbal flourishes are both witty and wise. Gopnik is a sleek stylist, and a high-minded, big-hearted moralist into the bargain.

• At the Strangers’ Gate by Adam Gopnik is published by Quercus (£20). To order a copy for £17 go to bookshop.theguardian.com or call 0330 333 6846. Free UK p&p over £10, online orders only. Phone orders min p&p of £1.99

Source: http://allofbeer.com/at-the-strangers-gate-arrivals-in-new-york-by-adam-gopnik-review/

from All of Beer https://allofbeer.wordpress.com/2018/10/25/at-the-strangers-gate-arrivals-in-new-york-by-adam-gopnik-review/

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frederickwiddowson · 4 years

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Genesis 3:1 comments: Satan aka Lucifer makes an appearance

3:1 ¶ Now the serpent was more subtil than any beast of the field which the LORD God had made. And he said unto the woman, Yea, hath God said, Ye shall not eat of every tree of the garden?

Subtil or subtilty, our modern subtle or subtlety, refers to a shrewd and clever individual, sly in plotting and schemes. This is someone who is full of guile and devices to corrupt and pervert those around him. His type is almost applauded in our culture as resourceful and a “winner” and someone who is likely to get the upper hand.

That Satan came in the guise of a serpent has long been understood by Christians. A serpent, in the history of the mythologies of the world, can also be a dragon and called a worm. It is a powerful motif in many cultures. This is not merely a talking snake. This serpent would have been a magnificent creature.

In the books of Isaiah and Ezekiel the prophets the writers may be talking about a human king and yet also give a description of Satan himself as human kings are often possessed of the traits and self-aggrandizing characteristics of Satan. This is part of the multi-dimensional layout of the Bible. Where the author is giving a description of Satan, as well, is clear to most readers. Here are some descriptions of Satan buried in writing about a human king.

Ezekiel 28:11 ¶ Moreover the word of the LORD came unto me, saying, 12 Son of man, take up a lamentation upon the king of Tyrus, and say unto him, Thus saith the Lord GOD; Thou sealest up the sum, full of wisdom, and perfect in beauty. 13 Thou hast been in Eden the garden of God; every precious stone was thy covering, the sardius, topaz, and the diamond, the beryl, the onyx, and the jasper, the sapphire, the emerald, and the carbuncle, and gold: the workmanship of thy tabrets and of thy pipes was prepared in thee in the day that thou wast created. 14 Thou art the anointed cherub that covereth; and I have set thee so: thou wast upon the holy mountain of God; thou hast walked up and down in the midst of the stones of fire. 15 Thou wast perfect in thy ways from the day that thou wast created, till iniquity was found in thee. 16 By the multitude of thy merchandise they have filled the midst of thee with violence, and thou hast sinned: therefore I will cast thee as profane out of the mountain of God: and I will destroy thee, O covering cherub, from the midst of the stones of fire. 17 Thine heart was lifted up because of thy beauty, thou hast corrupted thy wisdom by reason of thy brightness: I will cast thee to the ground, I will lay thee before kings, that they may behold thee. 18 Thou hast defiled thy sanctuaries by the multitude of thine iniquities, by the iniquity of thy traffick; therefore will I bring forth a fire from the midst of thee, it shall devour thee, and I will bring thee to ashes upon the earth in the sight of all them that behold thee. 19 All they that know thee among the people shall be astonished at thee: thou shalt be a terror, and never shalt thou be any more.

Isaiah 14:12 How art thou fallen from heaven, O Lucifer, son of the morning! how art thou cut down to the ground, which didst weaken the nations! 13 For thou hast said in thine heart, I will ascend into heaven, I will exalt my throne above the stars of God: I will sit also upon the mount of the congregation, in the sides of the north: 14 I will ascend above the heights of the clouds; I will be like the most High. 15 Yet thou shalt be brought down to hell, to the sides of the pit.

In these passages you get a glimpse of Satan’s majestic appearance, his original position, and his pride. One can imagine him resenting man’s position as having dominion over God’s creation greatly and plotting a way to take man’s place. Satan envies not only Adam. He envies God. It is that pride and ambition that has condemned him.

Satan twists God’s words in his trick. Did God say you can’t eat of every tree in the garden? The ultimate con-man will let his mark talk themselves into the deception. In this way the woman becomes part of the con.

Satan tries to upset God’s order of man’s dominion under God’s authority. He knows his marks well. Consider for yourself if this could be linked to Satan’s rebellious attitude in Isaiah 14. Traditionally, Lucifer is regarded as a name or title for Satan, which is also a name or title.

Or, to the events of Revelation 12, if they are historical events described.

Revelation 12:3 And there appeared another wonder in heaven; and behold a great red dragon, having seven heads and ten horns, and seven crowns upon his heads. 4 And his tail drew the third part of the stars of heaven, and did cast them to the earth: and the dragon stood before the woman which was ready to be delivered, for to devour her child as soon as it was born…7 And there was war in heaven: Michael and his angels fought against the dragon; and the dragon fought and his angels…9 And the great dragon was cast out, that old serpent, called the Devil, and Satan, which deceiveth the whole world: he was cast out into the earth, and his angels were cast out with him.

But, if you interpret these as past events even to the time around Satan’s deception of Adam and Eve you still have to deal with the fact that Satan had God’s ear in Job and this statement by Jesus;

Luke 10:18 And he said unto them, I beheld Satan as lightning fall from heaven.

The events in Isaiah 14 and in Revelation 12:3,4,7, and 9 fit textually more clearly in the events of Christ’s life, death, burial, and resurrection with Isaiah looking forward to Satan’s attempt to control and unite the entire earth against God and Revelation 12 providing a history of Satan’s persecution of the Jews and attempt to destroy Christ’s mission before it began and then to have Him executed. But, these are discussions and arguments that would be a great subject of Bible studies. For the sake of he narrative let’s move on.

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nofomoartworld · 7 years

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Hyperallergic: Required Reading

Brothers Adam and David Nagy have created the first clear coffee drink. It is made from Aracica beans and promises not to stain your teeth. (via My Modern Met)

“It’s about time for the Indigenous art canon to create a space for gender-variant and sexually diverse voices.”:

But Indigenous feminist art of the late 1990s through the 2010s isn’t the Indigenous womanism of generations past. Indigenous womanism seeks to emancipate entire Indigenous communities, including men, believing deeply that the struggle of our men is our struggle as a people. Next-generation Indigenous feminist artists and thinkers do not seek to reconcile themselves to patriarchal peoples and institutions. Instead they unapologetically take up and take back space. They rage against the gallery and the current affairs of arts administration, asserting that their practices happen in the streets and around kitchen tables; that Indigenous feminist art and cultural writing is self-published, self-distributed and defined within and around community; and, above all, that they aren’t afraid to talk back to the man (or their men, for that matter).

A consciously queer reading of the 2017 Whitney Biennial:

In the 2017 Biennial, the idea of non-normative sexual and gender identities emerges through a more truthful array of lenses, surfacing visual approaches that limn questions of autobiography alongside economics and politics. Where the curators’ choice of artists ensures a space for more singular voices, so too does it invite a secondary reading of contemporary experiences of queerness that collectively complicate and modernize a historically fraught approach.

New York Magazine art critic Jerry Saltz reflects on his former life as an artist and probes his own story in the process:

On the outside things were great. On the inside I was in agony, terrified, afraid of failing, anxious about what to do next and how to do it. I started not working for longer and longer periods. Hiding it. Then not hiding it. Until all I had left was calling myself an artist. At 27, I had what I think of as a one-year walking nervous breakdown. Which was shattering. I began having panic attacks; couldn’t be around people even though I was dying to be around them; got insomnia, took five-hour walks to wear myself down, was filled with bitter envy for everyone and everything. In this state of self-deprecating deprivation, I wanted what others had, hated anyone who had more space, time, money, education, a better career. To this day I tell all young artists to make an enemy of envy or else it will eat you alive. Like it did me.

Kate Imbach takes a look at the photos on Melania Trump’s social feeds to figure her out. This is what she finds:

Everyone has an eye, whether or not we see ourselves as photographers. What we choose to photograph and how we frame subjects always reveals a little about how we perceive the world. For someone like Melania, media-trained, controlled and cloistered, her collection of Twitter photography provides an otherwise unavailable view into the reality of her existence. Nowhere else — certainly not in interviews or public appearances — is her guard so far down.

What is that reality? She is Rapunzel with no prince and no hair, locked in a tower of her own volition, and delighted with the predictability and repetition of her own captivity.

Why not move to the White House? Let’s see.

Frieze magazine asked roughly 50 people around the world, “How Important is Art as a Form of Protest?” Some responded with art (some work better than others), but many responded with words, including Jimmie Durham, who said:

Where there is injustice, it is necessary that we protest. But, seeing that making art is neither a job nor a profession, protesting injustice by using art is really difficult. For me, no more difficult than trying to make art for decorating a room. What do we want in life, individually? It would be good for me if everything I do is on the side of liberation. An interesting and full way to live.

Kyle Chayka explores how drones are changing the way we see the world. He observes:

Amateur drone photography has already developed a distinctive set of subjects. The book is organized into sections such as “Urban,” with photos of city landmarks and street layouts; “Fauna,” with Planet Earth–style shots of animals; and “Probe,” which documents environmental threats like pollution and wildfires. The themes are decidedly unsubtle: The photographers are preoccupied with capturing a novel view of a familiar scene, or playing tricks with the camera’s height rather than using it to push the boundaries of symbolism or the format of the photo. Superficial content dominates form. Given the camera’s distance, the results also tend to be visually static, and even alienating to viewers.

… If drone photography often feels glib, it may be because pictures taken from the air don’t fit easily into clear, human-scale narratives. In fact, the looming presence of the machines threatens the order of life on the ground. In 2013, the novelist and photographer Teju Cole published a series of tweets composing “seven short stories about drones.” Cole inserted the machines into the beginnings of novels by Melville, Kafka, and Chinua Achebe, giving familiar stories abrupt endings, echoing the innocent lives that drones cut off in the real world: “Call me Ishmael. I was a young man of military age. I was immolated at my wedding. My parents are inconsolable.”

The world-renowned architect I.M. Pei at 100:

Given Pei’s penchant for elegant solidity, it’s ironic that the project that nearly sank the firm was the Hancock Tower in Boston, a glass edifice so ethereal that clouds seem to glide right through it. Construction of the tower damaged nearby Trinity Church. Then the curtain wall began to crack, and for a while workers patched the broken windows with plywood panels, making the façade look diseased. Finally, an engineer discovered that a strong wind might knock the structure over, and it had to be reinforced with 1,650 extra tons of steel. Pei’s partner Henry Cobb had designed the building, and the tower opened in 1976 to become a Boston landmark, but notoriety clung to the firm.

A short description of cultural appropriation for non-believers by Rajeev Balasubramanyam:

1. Your new friends Bob and Rita come to lunch and you serve them idlis, like your grandmother used to make.

2. They love your south Indian cooking and ask for the recipe.

3. You never hear from Rita and Bob again.

4. You read in the Style section of the Guardian about Rita and Bob’s new Idli bar in Covent Garden… called ‘Idli.’

…

Ijeoma Oluo interviews Rachel Dolezal — the white woman who identifies as Black — about race, and the encounter is a must-read:

I ask her some easy questions, but she answers them with increasing irritation. When we have been together for three hours, I feel it’s time to ask The Question.

It’s the same question that other black interviewers have asked her. A question she seems to deeply dislike—so much so that she complains about the question in her book. But even in the book, it’s not a question she actually answers: How is her racial fluidity anything more than a function of her privilege as a white person?

If Dolezal’s identity only helps other people born white become black while still shielding them from the majority of the oppression of visible blackness, and does nothing to help those born black become white—how is this not just more white privilege?

One Instagram account (@idontgiveaseat) documents the textiles on metros and subways around the world.

A thread by Rukmini Callimachi on what happens when a neighborhood is liberated from ISIS forces:

1. All over liberated areas of Mosul, 1 of the 1st things people are doing is painting over ISIS graffiti. Some are being artistic about it: http://pic.twitter.com/Rkmj9rZf4Z

— Rukmini Callimachi (@rcallimachi) April 15, 2017

The police in Iowa really took 420 seriously:

You've heard of speed traps? We have weed traps http://pic.twitter.com/TP7ir4qg1h

— IowaStateU Police (@ISUPD) April 20, 2017

Required Reading is published every Sunday morning ET, and is comprised of a short list of art-related links to long-form articles, videos, blog posts, or photo essays worth a second look.

The post Required Reading appeared first on Hyperallergic.

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junker-town · 7 years

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How to watch Riviera's Genesis Open live online, TV schedule and more

Riviera is arguably the best stop on the PGA Tour and this week’s field is loaded, even with Tiger unable to play.

There is really nothing better than the PGA Tour’s annual stop at Riviera. This isn’t a major and it would be stupid to compare it to one, but the Genesis Open, which is what we’re now calling this event at Riv, has a very strong case as the best tournament on Tour in the non-major category. Yes, that includes all those loaded WGC events and even The Players (arguably — Riv has a case, is what we’re saying).

The field is always strong. The destination is unlike any other on Tour, dropped in the middle of Hollywood. The time of year makes everyone else freezing in most other parts of the country badly want to watch in envy. And the course, well, that’s what sells this regular stop on Tour. It’s a classic, historic layout that is a welcome change up from so many of the TPC venues that populate the schedule. It oozes character and has several holes where you wouldn’t mind just posting up for an entire day and watching how each and every group decides to play it.

The most famous hole at Riviera is the 10th, which has a cult following and appreciation. It’s a short little drivable par-4 with a thimble-size green surrounded by all sorts of impossible lies, bunkers, and spots golfers commonly call “jail.” It’s a beautiful risk-reward hole — not very long but capable of wrecking an entire scorecard with some huge crooked number. Most players love it, some think it’s a gimmick and hate it (Bubba Watson, not a fan). The 10th at Riv, for the fans, is often the most beloved hole on the PGA Tour and fortunately, there will be a live stream up and running there at the crack of dawn on Thursday and continuing throughout the week as part of the “featured holes” coverage.

The full stable of streaming and TV options will be available this week, commensurate with the kind of legendary event and loaded field this Genesis Open demands. PGA Tour Live will be running by 9:30 a.m. for the first two rounds, which is pre-dawn 6:30 a.m. stuff out in Los Angeles. There are so many names to choose from for their featured groups streams and the two clusters they have going each day may be the best we see this year. Spieth, DJ, Phil, Bubba, Sergio, Day, Rose, Scott, JT, Hideki... the names are the who’s who in golf right now and everyone has made it to Riv. If you don’t have a subscription, well, this might be the event worth signing up for on its own. It’s that good -- cancel after a month if you want.

Of course, this Genesis Open could have been so much more. This is now a Tiger Woods party. When Hyundai’s Genesis brand took over as the title sponsor, they named the Tiger Woods Foundation as the charitable beneficiary. That brought Tiger back into the fold as an unofficial host in the same way he has at Congressional and TPC Boston. His foundation helps run things and Tiger shows up and plays — something he hasn’t done at his hometown event in a decade after several poor showings at Riviera.

But not only will Tiger not play this week, he may never even show his face at the exclusive Pacific Palisades club. That’s because Woods is laid up in his hotel room, staying “horizontal,” as his agent put it, and following doctors’ orders to limit “all activities” following these sever “back spasms,” which is what his agent is still calling it. That led to a rescheduling of his Tuesday press conference to Wednesday and then a total cancellation of his appearance before the media. It sounds like he won’t make it to the course for anything this week — not the PR giggling, the visit to the TV tower, anything. So that’s a blow, along with Rory McIlroy having to back out with his own rib injury.

Tiger is the biggest draw in the history of the game so his absence will certainly impact what could have been monster ratings. Even without Tiger and Rory, there are so many reasons to watch an event that truly begins the pre-Masters prep stretch of the schedule. In addition to those multiple PGA TOUR LIVE streams, Golf Channel and CBS will split the TV coverage on their usual schedule all week and have the typical simulcast streams going too. Here’s the full media slate for the week at Riv (all times ET):

Thursday's first round coverage

Television:

2 to 6 p.m. ET — Golf Channel

Online streams:

9:30 a.m. ET -- PGA Tour Live starts with coverage from range and opening holes

9:30 a.m. to 10:50 a.m. ET — Free PGA Tour live stream on Twitter

Featured Groups (PGA Tour Live subscription required)

10:22 a.m. ET -- Phil Mickelson / Sergio Garcia / Jim Furyk

10:32 a.m. ET -- Dustin Johnson / Adam Scott / Justin Rose

3 to ~6 p.m. ET -- PGA Tour Live featured holes coverage (No subscription required)

2 to 6 p.m. ET — Golf Channel simulcast stream

Radio:

Noon to 6 p.m. ET — PGA Tour Radio on Sirius-XM (Ch. 92/208 and streamed here)

Friday’s second round coverage

Television:

2 to 6 p.m. ET — Golf Channel

Online streams:

With rain expected to hammer Los Angeles all day Friday, expect multiple delays. PGA Tour Live will stay on the air well past the scheduled 6 p.m. ET end time and likely until play is called for darkness or rain. They did this on Thursday with the marquee groups until play was called -- those late groups on Friday would be the two threesomes from above that were featured on Thursday morning. All of this, of course, is subject to change as the storms roll into LA.

9:30 a.m. ET -- PGA Tour Live starts with coverage from range and opening holes

9:30 a.m. to 11:30 a.m. ET — Free PGA Tour live stream on Twitter

Featured Groups (PGA Tour Live subscription required)

11:02 a.m. ET -- Jordan Spieth / Bubba Watson / Bill Haas

11:13 a.m. ET -- Hideki Matsuyama / Jason Day / Justin Thomas

3 to ~6 p.m. ET -- PGA Tour Live featured holes coverage (No subscription required)

2 to 6 p.m. ET — Golf Channel simulcast stream

Radio:

Noon to 6 p.m. ET — PGA Tour Radio on Sirius-XM (Ch. 92/208 and streamed here)

Saturday's third round coverage

Television:

1 to 2:30 p.m. ET — Golf Channel

3 to 6 p.m. ET — CBS

Online streams:

11 a.m. to 6 p.m. ET — PGA TOUR LIVE featured holes stream and featured groups stream

1 to 2:30 p.m. ET — Golf Channel LiveExtra simulcast stream

2:30 to 6 p.m. ET — PGATour.com/CBS simulcast stream

Radio:

1 to 6 p.m. ET — PGA Tour Radio on Sirius-XM (Ch. 92/208 and streamed here)

Sunday’s final round coverage

Television:

1 to 2:30 p.m. ET — Golf Channel

3 to 6:30 p.m. ET — CBS

Online streams:

10 a.m. to conclusion (darkness is 8:40 p.m. ET) — PGA TOUR LIVE featured holes stream and featured groups stream

PGA Tour LIVE tentative schedule

10 a.m. ET — Featured group stream for 3rd round — Dustin Johnson / Pat Perez / Cameron Tringale

1 p.m. ET — Switch to featured holes coverage of 10th/16th

2:30 p.m. ET — Afternoon featured group coverage

1 to 2:30 p.m. ET — Golf Channel LiveExtra simulcast stream

2:30 to 6:30 p.m. ET — PGATour.com/CBS simulcast stream

Radio:

1 p.m. ET to conclusion — PGA Tour Radio on Sirius-XM (Ch. 92/208 and streamed here)

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