#Cultural Echoes in Music

[josephkravis]

Ethereal Echoes: The Angel's Journey Through Life's Cosmic Heavens

The richness of human experience, symbols and metaphors reveal profound truths.

Unveiling the Angelic Metaphor The Angel in Our Midst: More Than a Celestial Being The richness of human experience, symbols and metaphors reveal profound truths. Among these, the image of the angel stands out—not just as a religious icon, but as a metaphor for life’s complexities. This exploration delves into the angel as a reflection of life itself: elusive, multifaceted, and…

[snackugaki-jestsjapesjokes]

TMNT x music

The Iteration: Archie era comics

Who made the reference: Oyuki Mashimi

The Band: Shonen Knife

The Song: N/A

From the winter 1994 Archie comics Special Oyuki wears a shirt reading, 'Shonen Knife'.

Shonen Knife is a Japanese pop-punk band formed in Osaka in 1981.[3] Influenced by 1960s girl groups, pop bands, the Beach Boys, and early punk rock bands such as the Ramones, the band crafts stripped-down songs with simple yet unconventional lyrics sung both in Japanese and English.[4][5] via wikipedia

No real reason for choosing to link this particular album other than it has most of the songs I remember from my childhood, also Shonen Knife's dope, give them a listen. bonus fact, kurt cobain covered twist barbie (and a bunch of other bands because every band has a shonen knife that loves them)

[lonelystar1111]

[townpostin]

August Echoes Festival to Debut in Jamshedpur on August 31

Music, food, and shopping extravaganza at Beldih Club promises family-friendly entertainment Jamshedpur’s inaugural August Echoes Festival will blend live music, culinary delights, and shopping at Beldih Club on August 31. JAMSHEDPUR – The city’s first August Echoes Festival, featuring live music performances, food stalls, and shopping opportunities, is set to debut at Beldih Club in Bistupur on…

[scribeofmorpheus]

Why Dragon Age Veilguard isn't a "Cathedral"

Concept art by Matt Rhodes

"To disinherit the storylines of past games goes directly against the notion of building cathedrals."

What is inherent with Veilguard that keeps bothering me is the fact that the world's choices truly didn't matter--and it doesn't simply bother me from a player perspective, it's not simply a grievance borne of frustration to what I (as a longtime fan) have lost. It's about the very culture of the arts under capitalism's new media habituation cycle [x][x].

Yes, I spent hours of my life playing and replaying each instalment of Dragon Age. Yes, I painstakingly curated a 'canon' world state by replaying what came before in preparation for Veilguard. Yes, I am even more unsatisfied with the end product--time hasn't helped, it's just widened the divide. But, and I can't stress this enough, these very personal gripes aren't what hit home the most. It's the inherent disregard of legacy. A legacy that the previous writers and game developers were building towards.

In the DAV artbook, "cathedral" is the word used to describe the process of making a game. Matt Rhodes' exact words are: "One artist can make a painting, but it takes a team to build a cathedral." Cathedrals took centuries to build. The architect who drafted the first blueprints would likely never see his work realised, he had to rely on those who came after him, like-minded and passionate, to see it through--for the culture, for the future, for legacy. Painters took on several apprentices for this reason too--giant frescoes were not completed by one man's hand, even if it is one man's name that immortalises them. Similarly, if you weave a narrative around choice, what good does it do to take it away at the final act if not to fall to caricature?

To disinherit the storylines of past games goes directly against the notion of building cathedrals.

Late-stage capitalism and profit-margin-obsessed game producers forcing developers to churn out meager content, to make a known brand into something it's not, to chase a fad or a popular trend... o, how reductive and cliche you've been forced to become Bioware. We have lost the cultural thought patterns relative to Cathedrals. We know only of barn-raised churches--done in a day but unlikely to last the turn of the seasons.

And don't even get me started on the music of Veilguard either. From Origins to World of Warcraft to Everquest to Baldur's Gate to Dungeon Siege, you can hear the intricate interconnected weave of sounds inspired by the Dungeons and Dragons-esque fantasy genre. You hear it in the repeated use of certain instruments, in the harmonic weeping notes of a bard-like singer or the foreboding echoes of drums as if of war. In tavern songs. But then, rather than hire someone who loves these worlds and this genre, who is a hungry artist looking to make a name, a legacy if you will, for themselves with a spectacular score, you hire any already sated composer, one well-into the encroaching years of career fatigue, whose notes repeat in countless projects, who feels less concise and more uninterested with each new project. One who has long since cemented his legacy. Someone in it for a paycheck and nothing else! And, to top it off, you let him compose something so minimalist? I am offended actually.

Cathedrals! We should have witnessed the final tile being placed on the Dragon Age cathedral. Instead, some architects walked up, tore down the interior and installed IKEA furniture and called it authentic before having to call the previous architects to come and fix the "load-bearing issues", forcing them to rush and add a coat of varnish and a few 'aged' details for authenticity.

[polyamorouspunk]

“Why Don’t You Just Move?”

A look at rural queerness and the hardcore scene.

With the recent and still on-going tragedy left in the wake of Hurricane Helene, a lot of light is being shed on southern states that make up Appalachia.

There’s a lot of misconceptions about Appalachia and the southern United States as a whole. There are a lot of good users on this website that have put a lot of effort into combating these harmful stereotypes and clearing up misconceptions.

But there’s more than just Appalachia in the south. There’s a lot of middle ground. Places that aren’t as rural as Appalachia, but places that aren’t as populated as cities like Raleigh, Richmond, Memphis, etc.

Places where people gather surrounded by other agricultural hubs.

There are queer people everywhere. In every culture, every religion, every country, in all of history, we have existed. We cannot and we will not be erased.

A common narrative that’s floated around for many years is “if red states are passing laws that are constructive to the LGBT+ community, then why don’t those people just move?”

So why don’t we just move?

I’m sure you can find a lot of well-written posts on here explaining many reasons why queer people not just in the southern states, but all over the world don’t “just move”, and one reason I’ve seen echoed over and over again is that “we have thriving communities here too”. We exist too.

How does one “be punk”?

It’s a question my mutuals and I get a lot, and a lot of us are tired of hearing it.

What does it mean to be punk?

Is it about the music? The clothes? The politics? Can you be punk if? Is it punk if you? Who? What? Where? When?

One common beginner tip to “being punk” is to find and join the local scene. This can lead to a lot of other questions, though. What is a scene? Where does one find the scene? How does one participate in the scene? Is there a minimum requirement?

Rest assured, literally no one is asking this offline.

A hardcore scene is so much more than just hardcore. A scene is a group of people where music is a common thread that builds the basis of other connections. A hardcore scene isn’t necessarily even hardcore.

“You have to listen to punk music to be punk”. Sure. But here’s the thing. In your local hardcore scene you will find: metal musicians, rappers, and more. You will attend shows with blues music, orchestras, and more.

Sometimes it’s not even music at all! Sometimes there is drag! Sometimes there are movie nights! Sometimes there are group outings!

It’s almost like… it’s just a social construct.

What is the local scene? The local scene is loud music. It’s smoking and drinking. It’s stopping by the corner store and the smoke and vape. It’s carpooling. It’s movie nights. It’s text chains. It’s group chats. It’s he-said-she-said. It’s they said. It’s AMAB enbies. It’s people who don’t care about “passing”. It’s DIY HRT. It’s she was a lesbian until she met him. It’s situationships. It’s hooking up and coming down. It’s bouncing from place to place to meet up with each other. It’s showing up someplace and seeing who’s there and waiting around to see who’s coming. It’s late nights spent partying on the weekends and back to school and work come the weekdays. It’s knowing someone by looks or name even if you haven’t put the two together yet. It’s trading socials. It’s Instagram stories and comments. It’s “DM for Address”. It’s “are you going tonight?” It’s “do you need a ride?” It’s “who else is going?”. It’s going somewhere and asking who’s coming. It’s sitting around on broken chairs and lawn furniture passing around a blunt, sharing a 24 pack of beer that 4 of you ran out to get with money you all pooled together, it’s “should we order pizza?” It’s “I brought donuts”. It’s hanging out in each other’s houses and rooms. It’s respecting the businesses that offer to house you. It’s generational friendships. It’s listening to your friends as they joke about their heritage and talk about their cultures. It’s the dog you pet when you’re sitting on the curb in ripped fishnets taking drunk selfies with your friends. It’s the man playing you the harmonica as you sit outside the THC drink bar on a Saturday night. It’s sitting out in the yard listening to someone play an acoustic set where they talk about the war and poverty and politics while you slowly get high surrounded by your friends. It’s sitting on a dock in the middle of the night fishing listening to emo music huddled together with your friends. It’s autistic people showing each other the bugs they’ve found in the dirt. It’s talking about your disabilities together. It’s shoving your friends in the pit and then holding their hands. It’s seeing the cos guys in their 40s and 50s who tend the bar and work the register calling you by whatever name and pronouns you give them. It’s all of this and so much more, and it cannot be conceptualized by one single fashion style, one single music style, one single belief system. It’s not someone calling you out because you went to Chick-Fil-A and don’t you know that’s bad, it’s not someone telling you that you’re a poser because you like Chappell Roan too or your clothes were bought at Forever 21 not thrifted and DIYed.

Everyone likes to talk about folk punk and other genres that bands like Dayz and Daze have popularized- or according to some, commodified and commercialized- but if you’re going to talk about music like folk punk, you’re going to have to respect the areas that it originated in.

Everyone want’s to talk about “local punk bands” when half the bands you’re seeing don’t even fall under the genre of punk.

Your local scene isn’t always going to be skate parks and thrash music.

Sometimes it’s the mom cooking you and all your queer friends dinner on a Friday night in her kitchen with crosses and a picture frame of her family with the quote “live, laugh, love”.

Sometimes it’s sitting around and listening to men who are old enough to be your grandfather with Vietnam Veteran hats play the blues while a pig roasts in a backyard BBQ, even though you’re in your 20s and you have blue hair and pronouns.

It’s sitting around and listening to your elders talk about how the scene used to be “back in the day”. Talk about the shows they’ve been to, the bands they’ve seen in their prime.

It’s asking what you do for work, where do you live, what brought you down here, what’s your college major?

It’s people. It’s people connecting to people. Regardless of the color of their skin. Regardless of gender or sexuality. It’s people of all ages coming together to listen to music with the idea that what you all have in common is living here and now, hating politicians, and thinking that someone should do something about the shitty state the world is in. It’s not a conglomerate. It’s individuality, and there’s no real wrong way of doing it unless you’re a Trump Supporter or a Nazi, and even then, they still have their own factions of the punk scene that are going to overlap with yours on occasion. The best you can do then is stand up for what you believe in and stay safe.

There are scenes just like mine all over this country. In southern states, in rural areas, in places that other, mainly white queers have “written off”.

So why don’t we just move?

Because this is our scene, and it’s what we make it, and in the heart of the south in the Bible Belt, we’re making it a queer-inclusive space despite what’s happening around us.

[misstycloud]

[Yandere.Rich man x ballerina reader]

(I don’t actually know much about ballet so forgive me if things are incorrect!)

—————

Rich. Yandere who was pestered by his friend and his wife to join them at the opera house and enjoy a performance. The couple had asked him numerous times before but he’d always declined. He was a workaholic and didn’t have any other commitments, so there was no need to break his routine. Although he would never admit it to anyone- he barely does to himself- he often find himself imagining a different life; one where he had a wife to welcome him home every evening. Perhaps a few children too. There was no sound besides himself and the staff in his home, it would be so very nice to hear the noise of running feet and happy chatter echo through the empty halls.

Rich. Yandere who is lonely above all else. His family is dead and he has next to no friends- the only one he has is married and devote all his time to keep him company. He knows that he doesn’t have the best track-record of being the kindest person in the world, and he might not be the friendliest or the most out-going, still, doesn’t he deserve some love too?

Rich. Yandere who eventually give into his friends demand and goes with them to the opera. As they took their seats- the expensive and best ones, of course- his friends wife babble on about her favourite dancer. They were regulars there and had seen many performances. He simply sighed and leaned back into his seat, waiting for the show to begin. He could only hope that it’ll be somewhat enjoyable since he doesn’t like wasting his time.

Rich. Yandere who was prepared for it to be a dreadful 3 hours, rubbing his eyes and suffering from lack of blood-flow in his legs. Oh how wrong he was. Instantly his gaze zoomed into you as soon as you stepped forward from behind the curtain. You were so beautiful and you moved your body gracefully to the music. It was magical. While he knew close to nothing about ballet, he knew that the point of it were for the women to look like they’re floating, and it’s exactly what you were doing.

Rich. Yandere who is instantly enamoured with you. As someone who’s never felt love this was all a brand new experience for him. He asked his friend and his wife if they knew who you were, since they frequent the opera so much. And turns out the wife did know who you were; you were her favourite after all. Rich. Yandere was never close with her or particularly liked her even, but he had to give it to her: she has excellent taste in performers.

Rich. Yandere who starts looking up information regarding you. It’s be your name, age, background, family, where you went to school and where you live. Everything. He also begins donating a lot of money to the opera house. In a short amount of time he’s become their nr.1 funder. The managers and owners are ecstatic at the news! They ask why he’s so generous and he simply answers that he loves culture and thinks it’s important it doesn’t disappear. Then, they wonder if there is anything they can do for him return, to which he smiles in response.

“Well, I do suppose there is one dancer I would be delighted to meet in person.”

Rich. Yandere who you feel uncomfortable around. He is so strange. You were just a normal ballerina, a dancer, no better or worse than anyone before your time. That’s why you can’t fathom the interest this wealthy man has taken in you. You two came form completely different worlds! But what can you do when your bosses not-so-gently urge you to see this man alone? You dont have any other skills and can’t apply to another job if you get fired.

Rich. Yandere who is determined to make you fall for him the way he has fallen for you. He’ll take care of you, love you and protect you. You don’t have to worry about a thing. He will do anything for his love.

“Don’t be scared, just keep on dancing, my little dancer.”

[snackugaki-jestsjapesjokes]

TMNT x music

The Iteration: Nearly all of them? I know for a fact Next Mutation had a reference through Donnie's goggles' HUD, Rise has an episode title using it as word play

Who made the reference: More of a meta reference in media

The Band: Cypress Hill

The Song: Insane in the Membrane

[captainmalewriter]

Made to Order

Franco pulled up to the apartment building of his latest client. He parked his car along the street and sent his client a quick text letting him know he had arrived. Franco then pulled out a pair of earphones from the glove compartment, connected them to his phone’s jack port, and put them on. He then booted up a survey app. It greeted him with a light blue screen and a ‘Hello!’ in a British accent. 

“Let’s see what kind of guy this dude paid good money to bang…” Franco muttered to himself as he pulled up the list of responses from the survey he sent to his clients. He scrolled to the latest data entry and skimmed it over. A grin formed on his face as he read it. 

“Alright then! No time like the present, let’s get to work.”

He downloaded the data entry into his phone’s local storage and composed it into an audio file. Once it was ready, Franco pressed ‘play’ and leaned back in his seat as the makeshift music began to fill his ears. He took a deep breath and cleared his mind of any and all thoughts, allowing the music to submerge his mind and body with powerful subliminal messaging. 

Gender: Male. Age: 24. Height: 6’4” ft. Weight: 170 lbs. 

Franco groaned as a cold chill ran up his spine. As he grew taller and heavier, the muscles in his legs rapidly flexed and relaxed. 

“Ohhh… Fuckk man…”

Franco couldn’t help but massage his aching body as he began to physically transform. He became hyper-aware of how his body felt and moved, which made touching his sensitive skin with his warm hands all the more pleasurable as it gradually changed. Franco moved the car seat back, as he needed the extra space to accommodate his sudden growth spurt. He gained several inches of height and about 30 pounds until he matched the size his client had requested. 

Hair Color: Brown. Eye Color: Green. Facial Hair? Mustache only. Body Hair? Yes.

The next few details of Franco’s client’s request rang in his ear and reverberated throughout his body. He gripped the sides of his seat as he felt his body working overtime to pump out heavy quantities of hormones. He winced in pain as his dark brown eyes changed colors. They became lighter and lighter in hue until they were a brilliant shade of green that glimmered in the sunlight. 

Franco’s hair was next to transform. The straight, black hair on his head grew lighter and curlier until he had wavy, brown hair. The skin on Franco’s upper lip tingled and itched as the hair follicles began rapidly growing in. Franco let out a heavy moan as his mustache hairs kept growing and growing until he had a thick mustache that hung over his lips. Once he had the right mustache, his underarm hair began growing, too. Franco only had a light dusting of pit hair, but thanks to his strange audio files, he could grow well past his natural limits. His armpit hair grew longer and thicker until he had a jungle of brown pit hair in his underarms. His pit hair had become so long that it even peeked out when Franco had his arms down!

Ethnicity: Mexican. Language: Spanish, or English w/ Accent. 

Franco let out a sigh of relief as he heard the next three lines of the audio file. Thankfully, the next transformation would be more mental than physical, which gave Franco a chance to take a quick breather. 

He relaxed against the headrest as the audio file echoed inside his mind. The more Franco heard his client’s preferences, the more his psyche changed to match his request. Suddenly, Franco was no longer a middle aged man from Midwest U.S.A. but a young Mexican man who had only recently immigrated into the country. His mind became filled with all sorts of new knowledge surrounding his Mexican heritage and culture, such as the Spanish language. 

“Mmm… Que rico…” Franco purred sensually as his throat muscles broadened and his vocal cords thickened, granting him the heavy accent his client had requested. The audio file also gave him a deeper voice too. Although that detail was more for Franco’s personal enjoyment than anything else.

But despite his newfound knowledge, there was only one thing the newly transformed Franco desired: to fuck as many men as physically possible. There was nothing he loved more than seeing a man pressed down against a pillow as he railed them to the next Tuesday. Just the thought of a man’s bubble butt swallowing his dick was enough to make him start leaking.

Size: 7.5 inches. Breed: Dom top. Body odor: YES.

While Franco was busy relishing his new voice and fantasizing about his next bottom, the next line of the audio file played, triggering the final piece of the transformation. Franco threw his head back as the next wave of bodily sensations caught him off guard. He let out loud, guttural groans as his manhood grew obscenely erect until it filled in his underwear. Franco massaged his sensitive, throbbing member as it grew longer and fatter than what he originally had. Before he knew it, Franco’s new endowment ripped the fabric of his briefs. His dick sprang to life like it was just begging to be released and played with as soon as possible! 

Franco wrapped his hand around his new dick and gave himself a few strokes just to test out his new tool. As he did so, a rank smell began to fill his car. It was sweaty, smelly, and addicting. That scent was none other than his natural body odor but kicked up to 100%. With the windows rolled down, Franco was becoming hot-boxed off his own tantalizing smell. Not that it really bothered him, as he was too busy admiring the glorious sight of his new, hung cock standing at full mast with a healthy bush of thick pubes to complete the look.

A tap on the window interrupted Franco’s moment of self-admiration. He glanced over and saw his client watching him with hungry eyes and a hand stuffed down his pants. Franco smirked, then rolled down his window.

“Hola papacito. ¿Te gusto?” Franco flexed his arms and winked at his client. The man nodded vigorously like a dog begging for a juicy steak. Then, he took a heavy whiff of Franco’s potent body odor and sighed, satisfied. 

“I can’t wait any longer! C’mon, let’s get you inside!!”

Franco grinned. He loved the whiny sound of a man begging to get fucked. He tossed his phone and earphones to the side and followed his client up to his apartment, where he proceeded to show him the dom Mexican top he requested to fuck him hard and raw. Another man made to order, another man satisfied.

[elliebarker]

yessss cc fic plz there’s not nearly enough

fuɔk me. ( c. clark )

category: caitlin clark x girlfriend!reader (angst, fluff)

summary: after seeing you talking to another after one of her games, caitlin goes into an obsessive spiral of jealousy, unknowingly sending you down your own rabbit hole.

warnings: way sadder than i intended 

word count: 1.2k

author’s note: i tried capital letters, y’all fw it?

_________________________________________

“I mean, it was electric, truly.”

Caitlin’s voice echoed into the microphone of a random media reporter who was interviewing her. She tried her best to stay focused on the questions whilst the camera clicked and pump-up music blared. Iowa had just won a home game and she knew you were in the crowd. She regained consciousness with the present and began answering the interview questions with basic textbook answers about ‘the Iowa culture’ and how great her shots felt, whilst scouring the stadium for you. You interlocked eyes and waved to her. She waved back and politely wrapped things up with the media girl (hehe) and headed your way. 

In the minutes she had spent with her eyes off of you, an umich girl from the opposing team had walked up to you. She was, in Caitlin’s eyes, getting a little too friendly. Smirking, and smiling too wide. Caitlin backed away, choosing to head to her teammates instead and pose in photos with fans. See… people love me she thought. And we literally bet them and that fucking umich girl had the nerv-

“Caitlin!” you ran, hugging her from behind. “You do so good, omg!” 

“Thanks, babe.” She slipped away from you, cold and isolated. Caitlin spent the night with the girls on her team, which wasn’t irregular for away games, but you were looking forward to getting to spend time with her when she was actually in town. You were slumped in your apartment, staring at yourself in the mirror, picking a pulling at your skin, hair, and hair. Meanwhile, Caitlin was glued to her phone in the corner of the room her teammates were in. Staring at that umich girl’s stats and Instagram. Caitlin knew she was a good player, she knew she was a good girlfriend, she knew you. She knew you wouldn’t do her wrong but she couldn’t stop thinking about it. About finding someone different. She knew she wasn’t there for you all the time, on account of her schedule with basketball that seemed never-ending. She felt like a bad girlfriend. You deserved the world, more than she could ever give you.

Sounds of shoes squeaking and balls dribbling filled her ears as Caitlin entered Iowa’s gym. After nights of stressing, overthinking, and flashes of your interaction with the umich girl appearing in her head, Caitlin was ready to clear her head with some practice. She stretched, dripped the ball a bit, and began shooting. First shot, miss. She went and grabbed the ball. Second shot, miss. Everyone has bad days. The third shot, she could barely focus, overwhelmed with this stinging feeling of inferiority as she missed that basket. “Fuɔk me,” she muttered under her breath. She suddenly turned around when she felt a hand on her shoulder. Kate was standing, now facing her. “Hey Caitlin, can we talk?” 

“Yeah of course, what’s up?”

“I’ve noticed you’ve been kind of off…down, you okay?”

“Um yeah,” she tried to hold her guard up, “yeah, I’m fine.” She smiled, “Need to lock in.” Kate laughed, agreed, and went on with her practice.

Later that day you, being friendly with the Iowa team, reached out to Kate. You texted her, 

You: hi kate!

i haven’t seen caitlin in a bit and just wanted to check in and make sure she’s doing okay

Kate: Hey! Thanks for reaching out, she has been acting a little weird. 

I was going to ask you but I guess you don’t know what’s up either.

You: no, i don’t know

has she talked about me?

at all?

Kate: No, not really. Is everything okay?

You: (…)

You stared at your phone for a solid five minutes attempting to keep your emotions under control.

You: yep! everything's good

just been a hot minute since ive seen her

but thats prob just cause shes so busy lol

Kate: Fair. But if anything does you can always talk to me.’

You: awww thanks kate! that's so sweet.

Days passed and you finally got a day to spend with Caitlin. You had invited her over to your apartment. You had excitedly and worriedly done up your hair and makeup, cleaned and refreshed every inch of your apartment: fresh sheets and fresh flowers, and made sure to wear an outfit you knew she liked. You felt it in your bones that your behavior was suspicious and 100% fueled by insecurity but you told yourself that you were doing this to make Caitlin feel comfortable, let her relax from working so hard. Totally not convincing her to want to stay with you. 

You and Caitlin were in your bed watching a tv-show and you could sense something was off. “Hey baby, can I get you anything?” you ask, trying to make yourself useful. 

“Um, yeah sure,” she replied, “water works.” You scoot yourself off the bed and head to the kitchen. Caitlin watches as you walk away, thinking about how you’re perfect in every way. She pulls out her phone, and her most recent search on instagram, umich bitch, is controlling her thoughts again. 

You come back with a glass of water for Caitlin and see she’s engulfed in her phone. Goddamnit you’ve bored her.

“I’m sorry,” you muster out. The stress of the possible end of your relationship that you conquered up in your head makes you almost fold into tears.

Caitlin sprung up, “Sorry, babe, sorry about what?” she went to hold you. You slithered yourself out of her arms,

“You’re probably sick of me, I need to stop holding onto you.” 

“What?” Caitlin asked, “Okay, first of all, I would never be sick of you. You are the most gorgeous, fearless, kindest, perfect girl I’ve ever seen. I would be crazy to ever let you go. But I know you deserve, you need better than me.” your tears turned to happy ones as you exclaimed,

“Caitlin what? You are the best girlfriend in the whole wide world.” You grabbed her face in your hands as hers found their natural place around your hips.

“I love you,” she whispered before moving her face close to yours and kissing you passionately. Your arms wrapped themselves around her neck as you leaned into the kiss. You slightly pulled away, whispering back, 

“I love you too.” Caitlin then pulled open her phone, to delete the umich player from her search history, but not without catching your nosy eye. “Wait. This was about her?” 

“What?” Caitlin said, trying to sound clueless.

“I spoke to her for five seconds? Wait…you were jealous?” you inquired. 

“No- I- who-” she stuttered, trying to deny it. “Also, I don’t get jealous.”

“You goofball,” you said, pulling her into a deeper kiss, to which Caitlin picked you up and plopped you back onto your bed, pulling you into her chest, and kissing your forehead.

“I don’t get jealous” she re-enstated.

“Mhmmmmm…” you replied, nodding your head, in a non-believeing tone. “Got it. Not jealous.”

“I’m being serious,” she said. You, too lazy to lift your head, nodded and closed your eyes falling into a deep sleep, to which Caitlin would follow you.

[novlr]

Any tips on how to describe indoor spaces so they feel real and match the vibe of the story without throwing in too much detail?

Getting interior scenes just right is all about finding the balance between setting the mood, showing the unique personality of your story world, and keeping the plot moving. There are lots of ways you can use senses, action, and background to set a scene, all of which can work seamlessly with the type of story you want to tell. Here are some tips on how you can achieve that:

How does it look?

Lighting: does your space contain the soft glow of lamps, harsh fluorescent lights, or natural light?

Use colour and textures like peeling paint, plush velvet, or sleek marble.

Size and scale: is it claustrophobically small or impressively grand?

Architectural features: does the space have high ceilings, crown mouldings, or exposed beams?

Furnishings: are they modern, sparse, antique, or cluttered?

Style and decor: what style is represented, and how does it affect the atmosphere?

State of repair: is the space well-kept, neglected, or under renovation?

Perspective and layout: how do spaces flow into each other?

Unique design features: describe sculptural elements, or things that stand out.

Spatial relationships: describe how objects are arranged—what’s next to, across from, or underneath something else?

How does it sound?

Describe echoes in large spaces or the muffled quality of sound in carpeted or furnished rooms.

Note background noises; is there a persistent hum of an air conditioner, or the tick of a clock?

Describe the sound of footsteps; do they click, scuff, or are they inaudible?

Include voices; are they loud and echoing or soft and absorbed?

Is there music? Is it piped in, coming from a live source, or perhaps drifting in from outside?

Capture the sounds of activity; typing, machinery, kitchen noises, etc.

Describe natural sounds; birds outside the window, or the rustle of trees.

Consider sound dynamics; is the space acoustically lively or deadened?

Include unexpected noises that might be unique to the building.

Consider silence as a sound quality. What does the absence of noise convey?

How does it smell?

Identify cleaning products or air fresheners. Do they create a sterile or inviting smell?

Describe cooking smells if near a kitchen; can you identify specific foods?

Mention natural scents; does the room smell of wood, plants, or stone?

Are there musty or stale smells in less ventilated spaces?

Note the smell of new materials; fresh paint, new carpet, or upholstery.

Point out if there’s an absence of smell, which can be as notable as a powerful scent.

Consider personal scents; perfume, sweat, or the hint of someone’s presence.

Include scents from outside that find their way in; ocean air, city smells, etc.

Use metaphors and similes to relate unfamiliar smells to common experiences.

Describe intensity and layering of scents; is there a primary scent supported by subtler ones?

What can you do there?

Describe people’s actions; are they relaxing, working, hurried, or leisurely?

Does the space have a traditional use? What do people come there to do?

Note mechanical activity; elevators moving, printers printing, etc.

Include interactions; are people talking, arguing, or collaborating?

Mention solitary activities; someone reading, writing, or involved in a hobby.

Capture movements; are there servers bustling about, or a janitor sweeping?

Observe routines and rituals; opening blinds in the morning, locking doors at night.

Include energetic activities; perhaps children playing or a bustling trade floor.

Note restful moments; spaces where people come to unwind or reflect.

Describe cultural or community activities that might be unique to the space.

How is it decorated?

Describe the overall style; is it minimalist, baroque, industrial, or something else?

Note period influences; does the decor reflect a specific era or design movement?

Include colour schemes and how they play with or against each other.

Mention patterns; on wallpaper, upholstery, or tiles.

Describe textural contrasts; rough against smooth, shiny against matte.

Observe symmetry or asymmetry in design.

Note the presence of signature pieces; a chandelier, an antique desk, or a modern art installation.

Mention thematic elements; nautical, floral, astronomical, etc.

Describe homemade or bespoke items that add character.

Include repetitive elements; motifs that appear throughout the space.

What is its history?

Mention historical usage; was the building repurposed, and does it keep its original function?

Describe architectural time periods; identify features that pinpoint the era of construction.

Note changes over time; upgrades, downgrades, or restorations.

Include historical events that took place within or affected the building.

Mention local or regional history that influenced the building’s design or function.

Describe preservation efforts; are there plaques, restored areas, or visible signs of aging?

Describing indoor spaces doesn’t have to feel like a chore. Focus on the details that matter most, tie them to the mood or characters, and let your readers fill in the blanks. A well-crafted space not only sets the scene but builds your character's relationship to it. Use sensory language, background, and action beats to tie it into your narrative, and don’t be afraid to play around with motifs and contradictions, depending on who is experiencing it!

[sankofaspirit]

Why Dr. John Henrik Clarke Is Correct About Black People Having No Friends (and why We Don’t Need Any) – a Garveyite Perspective

Dr. John Henrik Clarke famously stated, “Black people have no friends.” For many, this may sound harsh, but it is a sobering truth when viewed through the lens of Pan-Africanism and Marcus Garvey’s philosophy. Garvey understood that Black liberation can not depend on external allies; it must come from within—rooted in self-reliance, unity, and a shared commitment among Black people globally.

Here’s why, Dr. Clarke’s statement rings true and why, from a Garveyite perspective, Black people don’t need friends—only each other.

1. History Proves It

From colonialism to the civil rights era, supposed "friends" of Black people have repeatedly betrayed or abandoned us. Other groups have leveraged Black struggles for their own gains, only to leave Black people behind once their goals were achieved.

Post-slavery labour movements excluded Black workers.

Civil rights coalitions saw other groups gain rights, while Black people remained trapped under systemic racism.

Garvey and Clarke both saw these betrayals as evidence that Black people must prioritize their own interests and stop relying on others.

2. Global Anti-Blackness Is Real

Anti-Blackness isn’t confined to one region—it’s a global phenomenon. Across continents, Black people face systemic oppression, discrimination, and dehumanization.

Other groups often form alliances to protect their own power while marginalizing Black voices.

Even in spaces of shared oppression, anti-Blackness often takes precedence.

Dr. Clarke’s assertion and Garvey’s vision both point to this truth: Black liberation must come from within because no one else will prioritize us.

3. Dependency Leads to Exploitation

Depending on outside "friends" or "allies" often comes with hidden costs. Foreign aid, alliances, and solidarity movements often prioritize the interests of others over Black liberation.

Aid to African nations often perpetuates dependency rather than fostering self-sufficiency.

"Allies" in social justice movements often centre their struggles, leaving Black people to fight alone.

Garvey warned that dependency breeds vulnerability. Clarke reinforces this: Black people must build their own systems to avoid exploitation.

4. We Have Everything We Need

Garvey believed that Black people possess the resources, talents, and ingenuity needed for liberation.

Africa’s wealth: With its vast natural resources, Africa can fund global Black empowerment if reclaimed from exploitative systems.

Diaspora talent: Across the globe, Black communities excel in innovation, creativity, and resilience.

Dr. Clarke’s statement echoes Garvey’s vision: We don’t need friends because we already have all the tools for success.

5. Cultural Exploitation Is Proof of No True Friendship

Black culture—music, art, fashion, and more—is celebrated globally, but Black people are rarely compensated or empowered by their own creations.

Other groups profit from Black innovation while perpetuating anti-Black systems.

Cultural exploitation demonstrates a lack of true solidarity.

Garvey’s solution: Black people must reclaim their culture and use it as a tool for empowerment, not exploitation.

6. Unity Is Our Greatest Strength (and Threat to Oppressors)

A united global Black community is the most powerful weapon against systemic oppression. Garvey emphasized unity, and Clarke’s assertion underscores why others fear it:

A unified Black world challenges global power structures that thrive on division.

By focusing on internal unity, Black people strengthen themselves and disrupt oppressive systems.

7. Allies Often Divide Us

Alliances can create divisions within Black movements, as external influences pit factions against each other or dilute the focus on Black liberation.

During the civil rights movement, alliances often marginalized more radical Black voices.

Today, funding from external groups can cause conflicts between grassroots Black organizers and larger organizations tied to outside agendas.

Garvey’s emphasis on self-reliance offers a solution: Black unity must come first, free from outside interference.

8. Other Groups Prioritize Their Own Interests

Every group prioritizes its own survival and progress—it’s not wrong, but Black people must learn from this.

White nations maintain global alliances to uphold their dominance.

Asian nations focus on economic self-sufficiency.

Jewish communities have built strong networks to protect and uplift their people.

Garvey and Clarke would agree: It’s time for Black people to do the same and put themselves first.

9. Historical Success Through Self-Reliance

History proves that Black people thrive when they rely on themselves:

The Haitian Revolution succeeded because enslaved Africans united and rejected external dependence.

Garvey’s UNIA (Universal Negro Improvement Association) built businesses, schools, and a global movement without outside help.

These examples show that self-reliance works. Black people don’t need friends—they need focus.

10. True Liberation Is Self-Determined

Liberation can not be outsourced, gifted, or borrowed—it must be self-determined. Allies may help temporarily, but no one will prioritize Black liberation over their own interests.

Garvey envisioned a world where Black people controlled their own economies, politics, and resources.

Clarke’s assertion reminds us that we can’t afford to waste time seeking validation or support from others.

11. Black Liberation Threatens Global Power Structures

Both Garvey and Clarke understood that Black liberation isn’t just a struggle for freedom—it’s a direct threat to the systems of power that dominate the world.

A free and united Africa would undermine Western economic dominance, which relies on exploiting African resources.

A globally empowered Black diaspora would disrupt industries, politics, and systems built on anti-Blackness.

This explains why no other group can truly be a friend to Black liberation. Their survival often depends on maintaining the status quo that oppresses us.

12. “Allies” Often Centre Themselves in Our Struggles

Even when other groups claim to stand in solidarity with Black movements, their involvement often centers their own experiences, narratives, and priorities.

Non-black allies frequently shift attention to their struggles, leaving Black people to carry the burden of fighting for everyone else.

Movements like Black Lives Matter have seen external groups co-opt their messages for personal or political gain.

Garvey’s philosophy reminds us to stay focused on our own goals and not allow our movements to be hijacked.

13. Romanticizing External Help Distracts from Pan-African Solutions

One of the pitfalls of seeking allies is the belief that external help is necessary or even superior. This mindset can prevent Black people from exploring Pan-African solutions.

Garvey’s vision of “Africa for Africans” called for African nations and the diaspora to work together without relying on foreign nations or systems.

Clarke’s statement reinforces this idea: the best solutions come from within. Black people don’t need external friends—they need internal unity.

14. Allies Often Maintain Anti-Black Systems

Even so-called “progressive” allies often uphold the same systems that oppress Black people.

Corporations claiming to support racial justice continue to exploit African resources and labour.

Governments speaking out against racism still engage in policies that harm Black communities worldwide.

Dr. Clarke and Garvey both understood this hypocrisy. Real liberation requires rejecting systems that perpetuate oppression, even if they claim to support us.

15. Our Focus Should Be on Building Future Generations, Not Pleasing Others

Garvey often emphasized the importance of preparing future generations to lead and succeed independently.

Clarke’s warning about having no friends reinforces this: Why waste time seeking allies when we could be building schools, economies, and systems that empower our children?

A Garveyite perspective prioritizes creating a legacy of self-reliance and leadership that ensures the survival and progress of Black people globally.

By focusing on the future, Black people can stop relying on the approval or assistance of others and instead secure their own destinies.

Final Reflection: All We Have Is Us, and That’s Enough

Dr. John Henrik Clarke’s statement and Marcus Garvey’s philosophy both lead to the same conclusion: Black people must take responsibility for their liberation. True freedom can not and will not come from allies—it must come from within. The power lies in our hands, in our unity, and in our shared commitment to self-determination.

We don’t need friends. We need ourselves.