— untrustyou: Nathan Coley Heaven Is A Place...

miffybug

some miffy fanart. initially it was going to be a fully porcelain blue and off white inspired design but i had to add colours because colours are good

sluttynurse

medley

yves photographed by mu gung

effervescentwoman

bebemoon

artist marina bychkova fastening a pair of silver slippers onto her porcelain ball-jointed doll “kay” or “the lost doll” . from “lost in the details” video {x} .

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effervescentwoman

lichtreize

Twiggy posing in a babydoll dress - ph. by Justin de Villeneuve for Vogue US: 'More Dash Than Cash' Editorial. April 15, 1970.

effervescentwoman

mermaidenmystic

The Five Mermaids by Fosco Culto

princessofnazareth

fungusamongusblog2

princessofnazareth

nev from catfish when he finally snaps

poutysometimes

deepdwnbodythurst

effervescentwoman

pazzesco

Tsianina (pronounced Cha-nee-nah) Redfeather was a national superstar. “America’s own prima donna,” as a number of century-old writings and music programs describe her: “Her general education has qualified her for university degrees, and ten years musical training under the best masters has made her one of the foremost artists America has produced and the greatest singer the Indian race has given the world,” one brochure read in the 1920s. She was in high demand along the era’s Chautauqua circuit—a traveling commercial adult education collective that offered cultural lectures, concerts and plays from 1904 through the 1930s—touring from city to city presenting her compelling lyrics to overflowing audiences at major theaters, festivals, universities and expositions.

Tsianina Redfeather, a famous Creek/Cherokee singer and performer, early 1900s.

Tsianina Redfeather Blackstone (December 13, 1882 – January 10, 1985) was a Muscogee singer, performer, and Native American activist, born in Eufaula, Oklahoma, within the Muscogee Nation. She was born to Cherokee and Creek parents and stood out from her 9 siblings musically. From 1908 she toured regularly with Charles Wakefield Cadman, a composer and pianist who gave lectures about Native American music that were accompanied by his compositions and her singing. He composed classically based works associated with the Indianist movement. They toured in the United States and Europe. She collaborated with him and Nelle Richmond Eberhart on the libretto of the opera Shanewis (or "The Robin Woman," 1918), which was based on her semi-autobiographical stories and contemporary issues for Native Americans. It premiered at the Metropolitan Opera. Redfeather sang the title role when the opera was on tour, making her debut when the work was performed in Denver in 1924, and also performing in it in Los Angeles in 1926.

Tsianina Redfeather was born Florence Tsianina Evans at Eufaula, Muscogee Nation, in Indian Territory (now Oklahoma), to Muscogee parents. Her ancestors were forced from their homeland in the Southeast United States and forced to march on the trail of tears.[1] All nine of Tsianina's siblings had musical talent, but she was the best. She began training at the age of 14 in Denver, Colorado, sponsored in part by Alice Robertson. She had earned scholarships in Denver and New York City. While training in Denver, Tsianina became a mezzo-soprano virtuoso and met Charles Cadman, an American pianist, who later became her partner in touring and performing across the globe.

The Forgotten History of Tsianina Redfeather, the Beloved American Indian Opera Singer

Throughout the United States and Europe, newspapers, music critics, government leaders and royal nobles raved about the captivating voice of mezzo-soprano Tsianina Redfeather. The Muscogee singer’s perfect enunciation, great vocal range, superb legato, exquisite musical intelligence, genuine presence, and overall graceful charm were the talk of every town.

Tsianina (pronounced Cha-nee-nah) Redfeather was a national superstar.

Redfeather’s authenticity in presenting Indigenous culture through song and dance was one of her best qualities and personal passions, according to Troutman. She often performed with her longstanding business partner, the American composer Charles Wakefield Cadman, on stages decorated with Native items like baskets and Navajo rugs. In her 1968 autobiography, Where Trails Have Led Me, she explained that for her the spotlight became an “opportunity to tell the truth about the Indian race.” That truth, she recalled, had a gripping effect on her fans, especially during a period of cultural misrepresentation and assimilation. “Wherever I appeared, people told me, almost with tears in their eyes, how they felt about the Indian question, how wrongly the Indian problem had been handled,” she wrote.

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moonkitty

im a proud "ive never used chat gpt" user btw

— untrustyou: Nathan Coley Heaven Is A Place...

See, that’s what the app is perfect for.

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