My Jacket Says Hi

Hello. I am Avni. Sometimes I do stuff.


someone restrain me


i used to think blogging was writing pages of what you have been doing and plans for the future and thoughts you have and to upload photos of your travels or your friends but here we are as bloggers and all the information that is on my page is 1+1=banana




so if a bisexual dates someone of another gender, they’re really straight and looking for attention

and if a bisexual dates someone of the same gender, they’re really gay and calling themself bi out of internalized homophobia

and if a bisexual is polyamorous, they’re the reason bisexuals “can’t be trusted”

and single bisexuals are predatory liars

what the fuck are we supposed to do



The dances of Pakeezah are of course quite extraordinary and are in tune with the exquisite lyrics. Here Kamal Amrohi deliberately develops a unique style in which rather than the fast chatpata rhythms with a superficial kathak base, he uses a languorous, deliberate and rigourous classical style. As mentioned earlier, the two dances in Gulabi Mahal are unlike many filmi mujra numbers. Meena Kumari makes herself an object of desire by distancing herself from her admirers, presenting herself as a prize difficult to obtain instead of flirting with them seductively as done in many mujra numbers. Even Rekha in her ‘Dil cheez kya hai' in Umrao Jaan is more forward than Meena Kumari in her mujra. 

—Meghnad Desai, Pakeezah

In the songs “Chalte Chalte” and “Thare Rahiyo” which Sahibjaan performs amidst the grandeur of Gulabi Mahal, she frequently isolates herself from her patrons both physically and mentally. Though there are many subtle addresses to them, as the text says, she still places herself at a distance. I think the most expressively different part of these two mujras however, is the way Sahibjaan (and Meena Kumari in her trademark way) claims her space or her stage, despite always being painfully conscious of how societal standards deem her an “impure” woman and thus undeserving of such a privilege. In these songs she tends to spend long scenes facing away from her audience and even leisurely walking around the scenic Gulabi Mahal, further and further away from the patrons. And frequently her thoughts are led to her ongoing infatuation with a stranger which, while melding seamlessly into the themes of the songs, also shift the knowledgeable viewers’ perception of her performance as one of self-contemplation rather than entertainment. This atmosphere and Sahibjaan’s control of performing space is different from many other courtesan dramas” that were popular throughout the 20th century, which usually showed crowded, cramped spaces where the raucous male gaze surrounded and intruded that stage. 





A human getting pissed at their vampire boyfriend so they put in a silver sterling tongue stud and bracelets and earrings and their vampire boyfriend is just standing five feet away like “babe. c’mon.”

Vampire: “The fair is in town, maybe a date will help…”

human spends the whole time in the hall of mirrors




"airbenders are able to warm themselves with only their breathing"

ok so this explains why katara and sokka were bundled up in parkas galore while aang was just walking around in his little jump suit like it was a perfect summer evening. I’m so glad this was cleared up. I literally thought Aang’s optimistic attitude is what kept him warm, heavens.