UnderTheCherryTree

϶—T÷h÷a÷t÷s÷A÷G÷o÷o—d—P o

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I had like one, maybe two friends who were all like FUCK YEAH YOU PAINT IT WHATEVER COLOR YOU WANT, PURPLE BEDROOMS ARE AWESOME.

But when they actualy saw the finished bedroom, every single one of them was like, “Oh yeah, that’s really pretty.” (Well, the ones who supported me from the beginning were more like WOOHOO.)

MEAN YOU HAVE TO ABANDON

WHAT MAKES YOU HAPPY.

When I bought my house, the kitchen was multiple shades of dingy white. It was dismal, but it was now mine! So went to the hardware store for paint (well, several trips, painted swatches on panel, etc — I’m very picky. But this was the final, ‘real’ trip). It was a busy day in the paint section. There were at least five people behind me in line.

Now, remember, latex paint is slightly lighter and brighter when wet than it is when dry. And I’d decided to paint my kitchen candy-apple red. The hardware store employee took my gallon off the Paint Jiggler and cracked it open to put a dab on the top, revealing the most incredibly deep pink, and behind me I hear the entire line of people say,

“Oh my god.”

…in perfect chorus.

This is the door to my garage. It used to be white. Live your best life.

Mischief the cat says “Who goes there?”

Every visiting friend says “This is so cool.”

my garage. It used to be

white. Live your best life.

not decorating trends; those have always existed. but the idea that color and decoration is inherently childish

this is the dining room at the Eustis Estate in Milton, Massachusetts, from 1878 (where I used to work, briefly). the walls are TEXTURED MICA SHIMMER on a green background. Adult Space For Adults!

A jewelry shop in Paris c. 1901. kids can’t buy jewelry!

who can forget the classic 1950s colorful bathroom? I’m not a huge fan, but still! adult space! bright colors; decorative designs!

So here’s two examples of traditional Norwegian farmhouse interiors. You know. The kinds of places peasants live in.

This type of painting is called “rosemaling” and today you usually find it on, like, carved wooden bowls and such that are only used for decoration. But back two centuries ago, it was very common to find the interiors of homes covered in it, in projects that were painted little by little over the decades. Because it’s beautiful to look at, paint is the cheapest way of decorating your house, and what else are you going to do on the long winter nights when it’s too dark and cold to work outdoors?

But mostly, they did it because it made them happy, and it was beautiful.

This is one of those non-poem things that are among my favorite poems.

As the OP stated, the use of alliterative consonants is aesthetically just great, especially the placement of the strongest use at the end: “fuck him on the floor.” The use of “chintz” is indeed great word choice.

Because I’m insane, decided to scan the poem:

Not only is the second sentence, indeed, perfect iambic pentameter, the entire poem is perfectly metered, though the first sentence has four iambs rather than five.

There are further things I love about this poem, though: I like the casual connotations of “keep it real” juxtaposed with “chintz.” It causes me to interpret the “chintz” more strongly as meaning something fake, a facade. There is also of course the coarseness of “fuck,” which is a contrast with “chintz” but a different kind of contrast, gutsy and carnal where “chintz” is flimsy and inanimate.

And then there is the storytelling: there is SO MUCH storytelling in just these two lines. To break it down: The speaker is having sex with a married man, in the house he shares with his wife, which is “filled with chintz”—something that here connotes fakeness, in contrast with “keep it real.”

The illicit encounter in the poem takes place within a house filled with facade, the flimsy construction of the wife’s marriage and domestic sphere, but the encounter itself is a taste of something “real.” That’s a story, and it’s just two lines.

This is EIGHTEEN SYLLABLES, y’all. The amount of meaning condensed into these eighteen syllables is stunning, and it is so elegantly done.

The game treats the Miis like they’re real people and makes zero mention ever that they are not, and only ever refers to them and their POV as if they are real and you are their caretaker! While playing this honestly messed with my head pretty badly at times and made me worry a lot on if I was hurting real people/not doing enough for real people while I was playing!

I cannot imagine how much worse this would be for someone who’s unmedicated, non-dormant, or experiencing breakthrough symptoms! Do please be careful and PLEASE remember to have a way to reality check yourself while playing the game!!!

Bad Bunny did half of the music video for “Yo Perreo Sola” in drag. And I cannot emphasize how much the genre is saturated with machismo bullshit and Bad Bunny just refuses to participate in it.

His video for “Caro” is also a celebration of breaking gender norms. Most of the video is performed by Jazmyne Joy as Bad Bunny.

So at the very beginning of the play there was a scene where Macbeth and Lady Macbeth are at a funeral as the primary mourners. A stretcher is carried on with a covered body. The body was notably very small. They laid flowers on it and Macbeth immediately left for battle.

Now *I* studied Shakespeare in college so I immediately knew there is one single line that implies that the Macbeths lost a child at some point. Most of the time this isn't utilized in productions; it's just a throwaway line, intended to paint just how determined Lady M is for this regicide thing to work and how furious she is that her husband has cold feet. In this production she delivers "I have given suck, and know how tender tis to love the babe that milks me" nearly in tears. She takes a moment to steel herself before saying, "I would while it was smiling in my face, have plucked my nipple from his boneless gums and dashed the brains pit, had I so sworn" and she very nearly SCREAMED this in Macbeth's face.

Also noted was how the Macbeths looked at Macduff's children. Lady M was clutching her heart, nearly breaking watching them embrace their parents. Macbeth could not even look at them.

At the end of Lady Macbeth's plot, when she is sleepwalking and sleeptalking, she is typically portrayed as speaking to no one or to her husband. However, at a certain point of her monologue she got on her knees, raised her voice to a comforting octave, and began miming tear wiping, hand holding, hair and face stroking, around a child-sized figure. "Wash your hands, put on your nightgown, look not so pale. I tell you yet again, Banquo’s buried; he cannot come out on’s grave." Then she stands and appears to take the child's hand. "Go to bed, go to bed. I can hear knocking at the gate-" then she looks down and realizes that no one is there, followed be the most heartbreaking shriek I've ever heard followed by a full minute of her just weeping while curled up on the floor before she stood up, finished her monologue and left the stage.

Most of the time when the loss of a child is utilized in a performance or adaptation, it is assumed that the child was an infant and lost some time ago. To imply that the child died IMMEDIATELY prior to the events of the play and had been cared for and loved by their parents for a few years adds such a fascinating layer to the desperation to ascend to the throne, Lady M's madness, and Macbeth's initial hesitation into "in for a penny, in for a pound" attitude, Macbeth's fury that Banquo's, not his, children will take the throne, and even Macbeth's eventual demise following a frenzied final battle.

How far will grief push you to fill a hole? How far will grief push you to desperation? And what happens when none of your new pursuits are filling the void left by the one you lost? And what happens when you realize you have nothing left to lose?