#Remo D

[slapthebass]

Source: @emilyxygraphy on IG

[maranull]

REMO I LOVE YOU, YOU AMAZING SEAHORSE, YOU

[eurovisionart]

🇵🇹 Carlos Paião - Play Back

[breaddo]

Holy San Remo was it your birthday?? HAPPY BIRTHDAY YOU AMAZING ARTIST!! 🎉🎉🎉🎉🎉🎉🎉🎉🎉🎉🎉🎉🎉🎉🎉🎉🎉

UWAHH THANK YOU fellow carbohydrate comrade!! yes it is rn <3 glad u like my art too i am even drawing rn in fact🙏

[suchananewsblog]

Sonam Bajwa says Sara Ali Khan, Ananya Panday can directly go to Karan Johar's house and get to audition | Hindi Movie News - Times of India

Sonam Bajwa is presently awaiting for the discharge of her upcoming Punjabi movie Godday Godday Chaa. While she has additionally labored within the Telugu and Tamil business, she nonetheless has much less entry to the Hindi movie business. She feels that many Bollywood actors have direct entry to filmmakers and she hopes that she may have it in the same approach too. In a brand new interview,…

[mayapurimagazine]

Nora Fatehi & Remo D'Souza interview For Hip Hop India :-

[wheelsgoroundincircles]

1949 Delahaye 175 S Saoutchik Roadster

Saoutchik was a cabinet maker when he moved to Paris from his home in Ukraine around 1900, but he didn’t take long to establish himself in the fledgling automotive coachbuilding industry and he showed a consistent flair over the next 50 years which puts him among the very elite of automotive designers.

His designs borrowed little from other designers, and along with names such as Figoni et Falaschi, Chapron, Franay and de Letourner et Marchand, Saoutchik was one of the foremost designers of exquisite Art Deco coachwork during the 20s and 30s.

Saoutchik was commissioned to produce the spectacular work-of-art by flamboyant English collector, Sir John Gaul. The design was based on the first post-war Delahaye chassis from a 175 S Roadster (chassis number 815023) producing 165 bhp from an engine much larger than the pre-war Delahayes ran – a 4,455 cc naturally aspirated overhead valve inline six cylinder engine with four-speed electro-mechanically actuated Cotal Preselector gearbox, Dubonnet coil spring front suspension, De Dion rear axle with semi-elliptic springs, and four-wheel hydraulic finned alloy drum brakes. The wheelbase was a whopping 116 inches.

The car was unveiled at the 1949 Paris Auto Show, and was exhibited at all the major European concours events that year, from Paris to Monte Carlo to San Remo, scooping the pool wherever it was exhibited. It won best-in-class in the Pebble Beach Concours d’Elegance in 2006 just a few months after a complete restoration. Just a few months later, the car was honored again, winning People’s Choice at theprestigious Amelia Island Concours d’ Elegance.

Having fulfilled its exhibition duties, it then passed through a succession of other flamboyant owners, including actress Diana Dors.

The final word on this stunning automobile goes to Ian Kelleher, President and Chief Operating Officer, RM Auctions

“Following the financial depression of World War II, there were few collectors with the means, flamboyance and flair to commission a car as exotic as this Saoutchik Roadster. Arguably the most desirable post-war, coachbuilt automobile of all time, it is truly a masterpiece of the coachbuilder’s art. Eye-catching and exotic, it is wonderful to drive and combines superlative styling on a chassis of competition quality.”

Courtesy of RM Auctions

[arlechinav-blog]

Starting Materials for Mediterranean Trancework

If you are wondering what you will need to get started on this as a group, I have put together a list of materials. This is basically what I use when I am teaching others how to do this and when I host trance rituals.

I keep a fully stocked trance kit with extras of all the below items so that those who need them can have something to use until they can get their own. If you intend to lead your own group, be prepared to provide at least a few things for the effort.

Frame Drums: 14”-16” frame drums with synthetic heads are best for beginners. Recommending Remo’s Thinline, Renaissance, Fiberskyn, or Tar series’. Synthetic heads help students build up skills and needed hand calluses at the same time. Goat or fish skin drum heads will tear up your skin and go flat without proper care very easily. Each person involved should know how to play a drum and learn the beats your group uses. Avoid buffalo drums and bodhrans, they are too heavy for Mediterranean style drumming. 

Whiteboard and Easel: A wooden repurposed child’s art easel will work perfectly fine. Use it to balance a whiteboard where you can put up weekly notes. Large clips or magnets can be used to hold up a poster-board too, depending on what kind of easel you get. These are great for keeping up your trance chant lyric notes. Only use a whiteboard for notes that you will need once. 

Poster Boards: Record trance chants and rhythms that you use with your group onto large poster boards so that everyone can read them during practice sessions. Use a poster-board for notes that you will need multiple times to spare yourself from writing it again and again every time you need it. 

Trance Rhythms: I start folks out with 10 trance rhythms that can be used for pretty much everything. They work for just about any Mediterranean song you can find. I will have to film some samples for this so that you can hear them.

Trance Chants: To get through a basic trance ritual, you will need roughly 4-5 trance chants. Start your group with their first 5 and work on getting them down together. Some groups will prefer to work with songs in English, some will prefer songs in other languages, and some will prefer a mix of both. Feel out your group before you decide on your chants. 

Online Database of Communication: Start up a group where you can share resources, communicate about upcoming trance dates, and load up videos privately. Keep it secure. 

Incense: Incense is a trance trigger so pick one scent and stick to it every time you do practice or ritual. Keeping the same scent for all things trance will help participants go under. Use a soft floral scent like jasmine. Later, you can work in different scent triggers for different rituals. 

Rug: You can use rubber gym mats that link and/or an actual rug. Rugs will give rug burns so plan accordingly. Whatever you use has to be easily perceived by touch rather than sight--so tape on the floor will not work. This well defined border will be where the entranced are free to move. They will confine themselves to it so make sure it is the right size for the job you want it to do. 

White Flat Sheets: You will need at least 2 to start and +1 for each additional person who will trance. You can have your participants bring their own or you can pick some up from a second-hand store for fairly cheap. Everybody should have their own if possible.  

Colored Scarves: All things are color coded in trance for hypnotic suggestion and we use colored scarves to communicate with each other during trance rituals. People who wear a red scarf are monitors who look after trance dancers, people who wear white scarves are trance dancers who are there to trance, people who wear light blue scarves are musicians, and people who wear dark blue scarves are ready and capable of leading a trance session. You can have people bring their own or supply the group yourself. 

Your “Whites”: Each person will need an all white outfit to wear during trance rituals. For class, they can wear whatever they like. White is a spiritually neutral color used by all Mediterranean trance cults. Participants should supply their own trance clothes but you can keep a small supply of extra items to help supplement. 

Altar Kit: A trance altar needs to have a water jug and rinsing bowl with scented water for participants to wash their hands and face at (Cortas brand rose or orange blossom water are easy to find at Mediterranean groceries). It will need incense for participants to smudge themselves, their clothes, their hair and their instruments with. It will need a plate for monetary donations (it should never be empty). It is lucky to put an odd number on the altar ($1, $3, $5, $7 or $9). It will also need essential oils for use on skin that participants can rub on themselves (floral, fruit, or herbal scents preferred). Scent is very important to trance so the key is to be consistent and use it liberally so the scent can work as a non-visual trigger.

Wake-up Kit: A pitcher or fancy spritz bottle of cool water to spray or sprinkle on the arms and forehead of the entranced when they are done trancing. A blended oil of strong purgative scents that is dabbed on the fingers of the guide or monitor and wiped on the nose of the entranced when they are done trancing. I prefer a blend of rosemary, cedar and clove oil--that’ll wake you up! Make sure that no one in the space has an allergy to a product you use. 

Food: Always keep at least a loaf of fresh bread and some hummus for dipping on hand for post-trance snacks. Eating food helps those who have been trancing to come down and sober up. Water to drink is also helpful afterward. Be aware of dietary restrictions before you bring in foods that members of your group cannot eat.

Symbols: Think very carefully about the symbols you use and when you use them. Protect their meanings by bringing them out only when they are relevant. Continually reinforce their meanings in all that you do. This is a hypnotic suggestion and your symbols will become more and more important the more trancing you do. 

[visit-new-york]

Meadow near 91st and Central Park West

Meadow near 91st and Central Park West

Central Park West, often abbreviated as CPW, is a prominent and prestigious avenue located along the western edge of Central Park in Manhattan, New York City. It is one of the city's most iconic and sought-after residential addresses, known for its historical significance, architectural grandeur, and cultural importance. Here are some key details about Central Park West:

Location: Central Park West runs parallel to Central Park, starting at 59th Street in the south and extending to 110th Street (also known as Cathedral Parkway) in the north. It forms the western boundary of Central Park and offers stunning views of the park's landscape.

Historical Significance: Central Park West is lined with a diverse array of architectural styles and historic buildings, many of which date back to the late 19th and early 20th centuries. It is often considered a showcase of New York City's architectural history.

Architectural Diversity: Along Central Park West, you'll find a mix of architectural styles, including Beaux-Arts, Renaissance Revival, Art Deco, and more. Notable buildings include The Dakota, The San Remo, The Eldorado, and The Beresford, all of which are famous for their architectural splendor and the notable residents who have called them home.

Cultural Institutions: Central Park West is home to several renowned cultural institutions, including the American Museum of Natural History, one of the largest and most prestigious natural history museums in the world. The Museum of Arts and Design (MAD) and the New-York Historical Society are also located along this avenue.

Residential Prestige: Central Park West has long been associated with luxury living. The buildings along this avenue often feature spacious apartments with park views, elegant pre-war details, and a high level of service. Many notable individuals, including celebrities and business moguls, have chosen to reside in this area.

Transportation: Central Park West is well-connected to the rest of Manhattan via public transportation. It is served by several subway lines, including the A, B, C, D, and 1 trains, making it relatively easy to access other parts of the city.

Scenic Beauty: Residents and visitors of Central Park West enjoy breathtaking views of Central Park, with its lush greenery, serene lakes, and iconic landmarks. The proximity to the park provides a sense of tranquility and natural beauty amidst the bustling city.

Cultural and Entertainment Events: Due to its proximity to Central Park and its cultural institutions, Central Park West is often a focal point for cultural and entertainment events, including parades, concerts, and film screenings.

Real Estate: Real estate along Central Park West is highly sought after and can command some of the highest prices in the city. The area is known for its co-op and condominium buildings, each with its own unique character and charm.

Historic Preservation: Many of the buildings along Central Park West are designated as New York City landmarks or are part of historic districts, ensuring their preservation and protection. This commitment to preserving the architectural heritage of the avenue contributes to its enduring charm.

Cultural Impact: Central Park West has been featured prominently in literature, film, and television, further cementing its status as an iconic New York City location. The Dakota, in particular, gained worldwide fame as the residence of John Lennon and Yoko Ono and was the site of Lennon's tragic shooting in 1980.

Parks and Recreation: In addition to Central Park itself, the avenue offers access to several smaller parks and green spaces, making it a desirable place for residents who value outdoor activities and leisure.

Educational Institutions: Central Park West is also home to some educational institutions, including the Fiorello H. LaGuardia High School of Music & Art and Performing Arts, renowned for its performing arts programs.

Shopping and Dining: The avenue features a mix of upscale shops, restaurants, and cafes, offering residents and visitors a range of dining and shopping options within walking distance.

Central Park West Parades: Central Park West is a popular route for parades and processions in New York City. One of the most famous parades is the annual Macy's Thanksgiving Day Parade, which passes through this avenue on its way to Herald Square.

Transportation Hub: Central Park West provides convenient access to various transportation options, making it easy for residents to explore other parts of Manhattan and beyond. It's also a popular location for taxi and rideshare pick-ups.

Community and Neighborhood: The avenue is surrounded by vibrant neighborhoods, including the Upper West Side and Morningside Heights. These neighborhoods offer a mix of cultural attractions, dining, and shopping options that enhance the quality of life for those living on or near Central Park West.

In summary, Central Park West is a quintessential New York City avenue known for its historical significance, architectural beauty, cultural institutions, and luxurious residential offerings. It provides residents and visitors with a unique blend of urban living and access to the natural beauty and cultural richness of Central Park.

Central Park West remains a symbol of New York City's cultural and architectural richness, offering a blend of history, luxury, and natural beauty. Whether you're strolling along the avenue, enjoying the views of Central Park, or exploring the cultural institutions and dining options, Central Park West provides a unique and enriching experience in the heart of Manhattan.

[vintagegeekculture]

The “Remo Williams, the Destroyer” series, started in the 1970s as a mixture of spy and Kung Fu, featuring a superspy who becomes the student of a quirky, weird Kung Fu master obsessed with Barbara Streisand, continues to this day in e-book form. They are, surprisingly, still in publication. 

Dave Arneson, a friend of Gary Gygax, created the D&D monk class in one of his widely admired addendum to the game based on his love of the Destroyer books and his desire to play something like that at the table. 

[cherrylng]

RHYTHM & DRUMS MAGAZINE - DOM HOWARD (MARCH 2013)

Live Gear Dominic's favorite instrument used for recording his new album! Dom's DW Collector's Maple Kit

Following the interview, let's check out the drum kit that Dominic used during his tour in Japan! Unfortunately, he could not arrange for the latest kit that he started using on this tour, but instead he brought his favorite instrument, DW Collector's Maple, which he also used for recording "The 2nd Law"!

(A) Dominic's live equipment has a strong impression of acrylic shells that look good on stage, but since 2009, when he signed an endorsement deal with DW, he has changed to wooden shells. The shell used for the show in Japan was a Collector's Maple with a unique patterned damask finish. The sizes are 22"x20" BD, 12"x10" TT, 14"x14" FT, and 16′′×16′′ FT. The bass drum is equipped with Remo's PowerStroke 3 Clear and the toms and floor toms with Pinstripe. Incidentally, they are using the new Jazz Series kit for the Europe tour (sizes are 22"x20" BD, 12"x10" TT, 15"x13" FT, 16"x16" FT).

(B)&(C)&(D) Cymbals are all Zildjian. From the right side, 14" K Custom Dark Hi-Hat, 11" FX Oriental Splash, 8" EFX #1 Splash, EFX (prototype/size unknown), 22" K Custom Dark Ride, 18" EFX, 18" FX Oriental China. LP tambourines and Treeworks wind chimes are located on the floor tom side.

The (E) snare drum is a collector's metal steel shell measuring 14"x 6.5". The shell has a fine jagged knurled finish. The striking head is Remo CS coated with a thinly cut moon gel. Strikes are concentrated in the center.

(F)&(G) The suspension is unified with the DW9000 series. Inside the shell is a mute with a thinly rolled towel applied to the hitting head and a cushion-type mute.

(H) Rhythm Tech ribbon crasher set on the left hand side of the toms. This is Dominic's favorite live item that he has been using for many years.

(I) 16" floor toms and Roland electronic pads on the right hand side. He used to set gong toms in this position, but for this tour, he has placed single-headed floor toms. The electronic pad is assigned processed drum sounds, and Dominic himself plays the beat part of "Madness" by hitting the pad.

Dominic's favorite stick… Pro-Mark Hickory 101 Dom Howard Wood Tip!

Dominic's favorite stick is his signature stick from Pro-Mark (not available in Japan). It is a model with his signature printed in the center, measures 406mm x 14mm, is made of hickory, and has a long taper. The tip is an acorn type, as requested by Dominic, who wanted a darker tone. It is said to be similar to the TX720W among the models available in Japan. The photo shows the model that Dominic actually used at the concert in Japan, and the dents are concentrated on the shoulder where the hi-hat is carved and the center where the open rim shot is played.

[slapthebass]

DIR EN GREY - EUROPE TOUR24 FROM DEPRESSION TO [mode of Withering to death] - PARIS 22/03/24

[fatehbaz]

[A] team of technicians [is] working under sub-contracts for the National Mapping Agency [of Indonesia] to draw squares and rectangles around vast swaths of building and property across the archipelago. [...] [They] draw a perimeter [...] on the island of Kalimantan, a region that has witnessed the world's fastest forest clearing rates since 2012, as the oil palm [plantation] sector has expanded across rural Indonesia. [...] Even if state agency scientists demand that every building is drawn, his supervisors are afraid that the technicians will interpret too much. [...] [Bureaucrats] shrugged [...], reasoning that maps are crucial for Indonesia’s “pembangunan” (development), an ever-shifting ideology that has haunted the nation since [...] the 1950s. [...]

---

The contract employing the technicians stemmed from an incident in December 2010, when former Indonesian President Susilo Bambang Yudhoyono compared two conflicting maps of Papua Island. The two forest maps, one published by the Ministry of Forestry and the other by the Ministry of Environment, were presented in a cabinet meeting regarding [...] nationwide [...] plantation permits in primary forests. Each map showed primary forests of different sizes and boundaries. [...] A scandal broke out, with environmentalists claiming that these discrepancies are an example of how corrupt officials manipulate maps and issue plantation permits on protected forest land. Earlier in 1998, Indonesia’s timber and oil palm industry became increasingly decentralized and privatized. [...] Under a 2016 Presidential Decree, Indonesia’s National Mapping Agency [...] accelerate[d] the remapping of Indonesia’s 18,309 islands. [...] The base map [...] [is] conventionally understood as a “ground truth” to physical reality [...].

Yet, senior bureaucrats of the National Mapping Agency have always been aware that maps could never represent the real world. The agency’s Deputy Director recently stated to the Indonesian press that data on palm oil plantation ownership is “secret.”

Herein lies a tension between desires to conceal deforestation and the official appearance of attempts to reveal what’s happening on the ground. The accuracy of forest maps [...] [and a] map’s legibility can also be understood as part of a measured and managed public revelation and the concurrent concealment of information, narratives, and images of the trees that still stand. [...]

---

[S]ocial orders are based on "public secrets": forms of knowledge that are generally known insofar as they must not be overtly acknowledged. Simply put, one has to know what not to know.

Public life, its discourse, and practice, then, depend upon the management of transgression.

In Indonesia, it was understood that forest maps contained inaccuracies. From the fixed borders that enabled industrial plantation expansion to the inconsistent mapping standards, state maps were dissimilar all the way down. [...]

The pursuit of different versions of correspondence between territory and map segregates who gets to see and who gets to know what makes a forest. [...]

---

Bureaucrats have advanced data science projects to automate the delineation of forest borders, to know the forest in precise ways that crowd out what for others is actually there. [...] [Previously, technicians] had spent hours determining what pixel makes the cut. Perhaps drawing in this green pixel matches the vegetation nearby; perhaps adding a brown pixel grants more property for the house owner. The blur in the images makes for a deliberation that also implicates his wrists and fingers that grow sore from his tactful eyes. [...] Indeed, “there are no straight lines” on the edges of Kalimantan’s forest; someone feels these borders into vision. [...]

Data science initiatives, on the other hand, draw borders without explanation to remove this interpretive labor. [This process maps land by taking satellite photos, and then letting the automated model predict the extent of forest, removing the human interpretation and confirmation.] [...] Points are converted into labeled pixels and fed into models that in turn label points anew: points feed points. Unlike the field survey, with data science, ground truth is found within the image, not in the forest.

---

Indonesia’s forests are seen and known by different techniques. [...] Yet in keeping with the public secret of how forests are seen and governed by the state, each of these techniques also cultivates a willful not knowing.

Against the backdrop of the decades-long expropriation of indigenous land by patronage networks between timber and palm oil firms and central and district officials, broader shifts to institute efficiency and automation in mapping enable bureaucrats to relinquish their knowledge of such inconvenient truths. These technical initiatives recast the mapping of Indonesia as a preemptive activity [...]. The task of knowing what not to know emerges not only from the discursive theater of public human affairs, but out of the contest between the design and deployment of various mapping systems [...].

Is it possible to capture the world without seeing it? Or, who’s watching when a tree falls? Perhaps it doesn’t matter who, but how that watching is designed into a system that preempts a forest [...].

---

Text by: Cindy Lin. "How to Make a Forest". e-flux Architecture (At the Border series). April 2020. [Bold emphasis and some paragraph breaks/contractions added by me.]

[filthforfriends]

Pre-San Remo interview so wild that I have to routinely hunt whatever version YouTube hasn't removed for copy right infringement to convince myself if actually happened.

Here are the highlights paraphrased:

Do you sleep with a different person every day? D: No. Every week? D: No. Man, women, or both? D: Women.

Have you ever been in a relationship with a much younger woman? D: No, "much younger than me" is what? Kindergarten?

Have you ever been in a relationship with a much older girl? D: Yes. From 18 to 34...is 16 years (of age difference).

Have you ever experienced or been subjected to sexual harassment in a musical environment? V: Hmm, no.

Have you ever been aware of sexual blackmail in your environment? V: Of people close to me that I know directly, no.

If it happened, what would you do? V: I'd try to comfort the person that had suffered harassment and I'd try to encourage them to report the facts and to talk about it.

Do people catcall you? V: Yes. Does it bother you? V: Yes, it's annoying. Can it be considered on par with harassment? V: Yes. Obviously, its psychological and verbal harassment, not physical. However, that does not make it any less serious.

Have you ever told off a persistent fan? D: Not because of his persistence...Once, when we were playing there weren't barriers. Victoria bent over and a guy had the friendly idea of touching her butt.

What did you do? D: I told him a few things. Not good things.

Who spends more on porn? T: We don't need those sites. D: Ethan! V: Ethan! E: I don't know why I feel like the others said my name. Am I wrong? Anyways, it's not me.

And are you in favor of legalizing prostitution? All: Yes.

Do you have a girlfriend in common? D: Not that I know of. T: Absolutely not. E: God, what a weird question.

And a boyfriend? D: Neither. T: No.

Have you ever thought about the fact that sooner or later you could disband? T: There is so much chemistry that no. E: No, never wanted to think about it.

Have you ever thought of leaving the band to become a soloist? D: Absolutely not.

Is being in the shadow the fate of musicians who are not frontmen? E: No. T: No. I'm also a guitarist so I don't have this problem.

Aren't you envious of John Lennon and Paul McCartney? T: Absolutely not. E: No, it's just self-destructive.

Have you ever taken psychedelic drugs or sedatives? All: No.

Pro legalization of soft drugs? All: Yes.

Voluntary euthanasia? All: Yes.

Who smokes more weed? T: I don't know. D: Me. V: Damiano E: Damiano.

How many cigarettes do you smoke per day? D: 5-10.

Cialis or Viagra? D: None. Misfire (premature ejaculation), it happens to everyone. What do you do when it happens to you? D: Wait a quarter of an hour.

How many hours do you spend making love? D: It depends on the week. And masturbating? D: Not many (times).

Are you in a relationship? D: I won't tell you that. Then tell us if you cohabitate. D: I live alone.

To win your affection, how much does it count (on a scale) from 1-10? Buy you dinner? V: Zero. Have a six pack? V: Zero. Have intelligence? V: Seven. Have a nice ass? V: Seven. Have a beautiful smile? V: Eight.

Have you ever had mutual attraction with a celebrity? V: Yes.

Do you receive interest even from women? V: Yes. Have you ever had a fling with a girl? V: Yes. How did it go? V: Good!

Do you get advances even from boys? D: It's happened.

Does it bother you if people think you're gay? D: Absolutely not.

Who hooks up the most? T: Depends on the moment. E: None. V: Ethan. D: Ethan.

Do you sleep together? V: All four, it's too much. D: Two by Two. T: It's happened. E: Me and Thomas sleep together when we have to split the group in two parts.

Do you support yourself by music or do you still get pocket money? D: I've able to support myself through music.

Has your family ever struggled to make ends meet? D: No, we are an average family.

Have you ever got a panic attack before a concert? E: No. T: Never. D: Not before a concert. V: Yes, it was awful. I tried to calm down and the guys helped me distract myself.

Have you ever been to a psychologist? T: No. E: No. V: Yes. D: Yes. How long? D: I'm still In therapy.

The most short tempered? D: Me. V: Me. E: Damiano. T: Sometimes me.

The most vain? E: Victoria at the beginning (of the band). T: All four. V: Damiano. D: I think myself.

And now do you always wear a mask? V: Yes, of course.

Will you vaccinate? All: Yes.

Source: X X X

[juniperandjustice]

Please share my fundraiser wherever you can, and please donate even a tiny bit if you are able to do so. Thank you.

[pesterloglog]

Porrim Maryam, Kankri Vantas, Karkat Vantas

Act 6, page 5263

PORRIM: Kanny, leave this po+o+r kid alo+ne.

KANKRI: I'd appreciate it if y9u w9uldn't call me that. We've talked a69ut this. That's what y9u call a wiggler. D9 I l99k like a wiggler t9 y9u, P9rrim? N9, I d9n't. It's 6een three sweeps, plus eternity, f9r, excuse me, "fuck's" sake. I think we can safely retire that particular term 9f "endearment". Call me anything 6ut that, even my 9ther nickname. I'm actually 9k with that 9ne.

#micr9aggressi9ns #n9 wait #MACR9agressi9ns m9re like

PORRIM: I'm no+t calling yo+u Insufferable, Kanny. Well, no+t unless I'm using it as an actual adjective.

#And even then, pro+bably no+t to+ yo+ur face.

PORRIM: Well...

#No+t o+ften I mean.

KANKRI: It w9uld 6e nice if y9u'd at least use my pr9per name in fr9nt 9f my studi9us y9ung Alternian descendant. It really kind 9f er9des my credi6ility, and I d9n't need that in the pr9ximity 9f a fresh faced y9ungster wh9 clearly thirsts f9r kn9wledge. Why w9uld y9u want t9 sa69tage a fine y9ung man's educati9n like that?

#Fresh #Faced #Y9ungster #Kn9wledge thirst

PORRIM: Ro+lling my eyes here.

PORRIM: Can yo+u see? Do+ yo+u want me to+ light them up fo+r yo+u?

KANKRI: N9, 6ut thanks f9r 9ffering. C9uld y9u g9 r9ll them 9ver there? Thank y9u. N9w where was I.

#H9w d9 y9u even r9ll eyes with9ut pupils?

PORRIM: I do+n't think he cares.

PORRIM: Hey, there. Karkat? If yo+u do+n't mind my asking... are yo+u even remo+tely interested in the lo+af supplement this guy's serving?

KARKAT:

PORRIM: Go+tcha. Yo+u just said all yo+u needed to+ say.

PORRIM: Yo+u kno+w, yo+u are actually very cute.

PORRIM: That girl who+'s been wandering aro+und in the drago+n suit is a very lucky lady.

KANKRI: 9k, w9nderful. That c9nversati9n just came t9 an end.

KANKRI: P9rrim, please d9n't hit 9n my re699ted kid ancest9r-descendant. It's really weird. N9t t9 menti9n, he l99ks exactly like me? I mean, kind 9f 96vi9usly? S9 when y9u're hitting 9n him, it's like y9u're hitting 9n me at the exact same time, which like I said. It's weird.

#It's weird

KANKRI: N9t t9 get int9 all this again, 6ut the th9ught 9f dating y9u... it's just a strange and vaguely 9ffputting idea. N9 9ffense. It alm9st makes me understand at a visceral level the 6izarre human anathema 9f incest, which is s9mething I can't really explain. I'm just saying.

#Trigger warning #Incest #Anathemas #Viscerality #Vaguely #9ffputting

PORRIM: (Very deep sigh.)

#Oh my Go+d.

KANKRI: I'm S9RRY, 9k? I'm s9rry that I am, perhaps literally, the 9nly 9ne n9t t9 ever fall prey t9 y9ur tireless 9mnidirecti9nal s9licitati9ns, 9r t9 get swept up in 9ne 9f y9ur innumera6le flushed 9r caligin9us flings. I happened t9 always prefer y9u as a friend, and in any case, I always preferred t9 lead a relatively chaste existence, as it keeps me f9cused 9n fighting 9n 6ehalf 9f truly imp9rtant pr96lems. Alth9ugh staying "relatively" chaste t9 y9u I supp9se is n9t saying much.

PORRIM: ...

#Hey.

KANKRI: 9nce again, I ap9l9gize. I've 6lundered int9 the pr96lematic territ9ry 9f vacillati9n shaming, thus 9pening the fl99dgates t9 the myriad ways 9ne may 6e disadvantaged up9n 6y its staggering shame radius. I f9rg9t t9 check my piety privilege, and here we are. I was g9ing t9 c9ver this t9pic in a much later chapter 9f my lecture, 6ut we've g9tten 6adly derailed here.

#TW #Derailment #Train wrecks #Ch99 ch99 catastr9phes

KANKRI: Karkat, I'm s9rry f9r this interrupti9n. I pr9mise I'll get 6ack t9 my critical lecture as s99n as this pr9miscu9us 6usy69dy leaves us in peace.

#Village tw9 wheel device

KARKAT:

PORRIM: Yes, critical lecture. I'm sure.

PORRIM: And am I right in being just as sure yo+u are assiduo+usly deco+nstructing every co+nceivable, hypo+thetical fo+rm o+f injustice no+ matter ho+w o+bscure, except tho+se that I happen to+ think are kind o+f impo+rtant?

#Yes

KANKRI: N9. Just, n9, P9rrim. We're n9t d9ing this.

#N9

KANKRI: I am n9t g9ing t9 p9llute Karkat's utterly imperative crash c9urse, in which he is intr9duced t9 the A6S9LUTE 6ASICS, 6y indulging in y9ur pet issues.

PORRIM: Yes, ho+w dreadful it wo+uld be fo+r yo+ur sixty nine millio+n wo+rd essay to+ get bo+gged do+wn by even the faintest reference to+ the ro+les o+f gender in Befo+ran and Alternian civilizatio+n.

#"HUMAN SARCASM"

KANKRI: L99k, it's n9t that I'm insensitive t9 y9ur c9ncerns 9n that t9pic. I'm interested t9 discuss them with y9u 9n an academic, primarily the9retical level.

PORRIM: Theo+retical?

#...

KANKRI: I just think there is inherent danger in muddying the waters 9f disc9urse 6y intr9ducing s9cial issues which are suspect at 6est, thus c9nsuming crucial res9urces fr9m the limited cache 9f rhet9ric which pr9pels these narratives. And furtherm9re, 9ne c9uld argue it's m9re than a little pr96lematic, 9ffensive even, f9r y9u t9 6e appr9priating the lexic9n 9f sensitivity used t9 advance awareness 9f maj9r issues, thus reducing it t9 the level 6uzzspeak and pseud9science. It makes it m9re difficult f9r th9se 9f us wh9 are genuinely f9cused 9n p9sitive change t9 6e taken seri9usly, that's all.

PORRIM: Appro+priating??

#That's no+t #what that even #means?

PORRIM: PSEUDOSCIENCE???

#Yo+u did no+t just...

KANKRI: I'm s9rry, I just d9n't think there's much there. We aren't like humans, wh9se species 6izarrely en9ugh includes highly specialized r9les f9r 69th sexes in the pr9cess 9f repr9ducti9n, and s9 this naturally had s9cial ramificati9ns f9r the way their civilizati9n ev9lved. 6ut that's n9t h9w it w9rks f9r us, s9 I fail t9 see h9w gender fact9rs int9 the discussi9n in a way that can 6e effectively and rati9nally pr96lematized. Where is the r99m f9r unexamined privilege in the dich9t9my? I d9n't see it. And appr9priating the talking p9ints and awareness-raising tactics f9r du6i9us issues like this is, frankly, fr9wned up9n, t9 put it p9litely. Such appr9priative gestures 9nly serve t9 marginalize and invalidate th9se su6ject t9 seri9us, real life struggles and 9ppressi9n, and I guess I'm a little disapp9inted t9 see y9u 6eing s9 6lithely and inappr9priately appr9priat9ry.

#Fr9wned up9n #Fr9wns all ar9und #Welc9me t9 fr9wn t9wn

PORRIM: Kanny, I'm starting to+ feel just a little bit triggered by all this "appro+priatio+n" bullshit.

#Trigger warning: #Abo+ut to+ kick yo+ur tall pantsed ass

KANKRI: 9h! My sincere ap9l9gies. I sh9uld have d9ne a 6etter j96 tagging my statements, 6ut f9r future reference, it's helpful t9 alert y9ur c9nversati9nal partners t9 y9ur triggers well in advance. Sh9uld I g9 fetch y9ur m9irail t9 help settle y9u d9wn? And if s9, wh9 exactly w9uld 6e filling that quadrant t9day?

#It's the may9r, right? #G9tta 6e the may9r

PORRIM: Alright. Obvio+usly yo+u're in o+ne o+f yo+ur bratty mo+o+ds. I'm go+ne.

KANKRI: D9n't 6e like that. Really, we can talk a69ut whatever y9u like later, and I'll 6e really sympathetic, I pr9mise. Just n9t ar9und my pupil while he is still learning.

KANKRI: 9r... my descendant. What did I say? Haha. Karkat, I mean. Anyway, Karkat, again I ap9l9gize f9r that.

#N9w where was I?

KARKAT: