#and it isn’t just white and/or boomer men | Explore Tumblr posts and blogs

beardedmrbean · 10 months ago

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Hey Huey zoomer, I had to get my meds. About the mess that is my generation

Tbh well…look how late Gen x and millenials in media act like? Hello the society of magic negroes?

“The most dangerous animal on the planet is white people!”- well does the Jews run the world too?

And not a funny joke, especially since the movie said that a black guy wanting to get with a white girl is going to destroy their magic

Isn’t that what the term, ESPECIALLY racist?

Also the Velma show, Mindeyyyy, yes there a lot of rich annoying white boys. We can check wiki and found out that you are from a white collar family

Also your ass is handling one of the most famous kids cartoon in history

That privilege right there

But back to “royal zoomers” i remember a screenshot pointing out that a lot of people were tolerated and not raised. They were thrown in front of the tv

And this happens to my generation, for some goddamn reason a lot of Gen x decided to throw the tablets at their kids to shut them up and not raised

And who they got their personalities from? Toxic millennials and Gen x who think white men are the root of all evil and such.

So when you have zoomers thinking that millennials and Gen x who still have unresolved parental issues into their goddamn late 20’s-40’s controlling media

WE HAD A FUCKING MOVIE LIONIZING THE DAHOMEY

Yeah my generation need to be held responsible for their actions…but they are told by Gen x and millennials who treated fictional characters like real people and real people like shit. That their shitty behavior is a okay

I’m an autistic abuser survivor that was abused by my white stepmom. And even at 13 I knew racism against white people was bad.

Oh right right that bitch is a millennial too…let just a whole bunch of late gen z and alpha gen are going to point out that current society enable their late gen x and millennials female relatives toxic af behaviors

Especially boys, like holy FUCK don’t be surprised how many men in the upcoming decades are weary af around women

Sorry for this essay, make sense?

Glad you got your meds, that's good news right there.

Magical Negros movie thing kinda dropped off the map from what I could see, which is good because it's not something we need out and about right now.

Looks like it's coming out to wide release in March so discourse will likely resume, sad.

As for Velma I think mindy kaling figured out it was garbage while she was making it but also realized it's a carer killer to admit that out loud so the shift to 'call them racist' happened and then quality is irrelevant so she just kept going.

Wild how we went from promoting tolerance to forcing people to adhere to specific dogmas.

Don't like the show, you don't watch it since it's made for people who will enjoy it, live and let live, and now we're here with opinion pieces telling us not liking it is a terrible thing somehow.

So when you have zoomers thinking that millennials and Gen x who still have unresolved parental issues into their goddamn late 20’s-40’s controlling media

I think it's still boomers at the top making the big decisions, but the crossover is happening, people on screen ya it's gonna be gen x and millennials.

Gen-X doesn't really have the parental issues though we're fairly self reliant, call it a positive or negative of the 'latchkey kid' life however you like, 2 income families were a newer thing and they didn't know what to do with us so we worked it out on our own.

Uber boomer sounding rant I'll put under a cut that actually is fairly accurate.

WE HAD A FUCKING MOVIE LIONIZING THE DAHOMEY

Still funny, not sure what the point of doing that particular movie was but if it was to showcase strong black women, yes it did that but it also forced a reckoning for people that have been dismissing any accountability for the various African kingdoms that captured, catalouged, and sold the slaves

related tangent, was waiting for one of these asks of yours to pop in because I've got a nice link for you that I've been holding on to for ya.

Great African Kingdoms

This collection presents a small sampling of the many great African kingdoms that rose and fell from the ancient period when Punt traded with Egypt up through the common era. Each kingdom developed a distinct culture and corresponding art and religious belief that continues to influence people around the world in the present day.

Went through a few of the articles linked in there, interesting stuff and it's not just different kingdoms either despite the title of the page.

Carrying on

I blame a lot of that one the early gen-x who birthed the early millennials, tail end boomers early gen-x gave us the participation trophy.

I’m an autistic abuser survivor that was abused by my white stepmom. And even at 13 I knew racism against white people was bad.

Puts you leagues ahead of loads of people who have trouble with that concept. Very positive knowledge to have.

Especially boys, like holy FUCK don’t be surprised how many men in the upcoming decades are weary af around women

We're there already, it's looking like it may get worse though, sadly. The ideological divide between men and women is getting weird too I didn't expect the left right thing to go the way it has, it's a push back on the various abuses of the system that have happened though I'd guess.

Sorry for this essay, make sense?

little jankey but I got it fine since that's how my brain do too.

Again, glad you got your meds and are taking them that's a very good thing, another Gen-X thing we still have the stigma associated with "Prozac Nation" sitting in the backs of our heads no matter what we try to bash in to the normal bit.

Hope you enjoy the African Kingdom links and now it's a boomerish Gen-X rant under the cut time.

that last line is cringe, lol

#zoomer huey anon

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bookshop · 2 years ago

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The Old Man-ification of TV is here

On these shows, any larger conflicts are ultimately window-dressing for the escapist fantasy of self-made authority that Yellowstone and its ilk offer, one where power begets more power, not consequences. This model holds true across what we might dub the old maniverse. In it, the wisdom of Hollywood’s elders lends itself not to passivity and weakness but to unapologetic traditionalism straight out of the Jesus and John Wayne playbook.

There’s a reason, after all, that most of these stories are married in some way to the American West. The lure of wide open spaces isn’t just about attaining property and power, but about becoming a self-made individual. Men like Ford, Stallone, Bridges, and Costner have embodied that mythos on our screens; they’re the ones who can teach us how to become fearsome beholden-to-no-one forces to be reckoned with.

This approach to generational difference, too, is a fantasy about power: how it’s held and how it’s earned. These narratives frame their protagonists’ traditionalist paradigms as an existential conflict between themselves and the modern world. While other beloved shows like Stranger Things express their nostalgia by transporting us back in time, shows like Yellowstone and its ilk express their longing for a different age by constantly reinforcing their worldviews and refusing to allow much of an alternative. These aren’t shows that address systemic change because they don’t think systemically at all; they align with individualism at all costs.

That their (white, male, boomer) protagonists may have benefited from the American system is, well, not really something worth investigating.

#tv #yellowstone #taylor sheridan #tulsa king #my stuff

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critical-skeptic · 25 days ago

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2024 Election Turnout Prediction

I don't want to be overly optimistic or start celebrating just yet, but based on the few credible polls, Lichtman's Keys to the White House predictions, my own observations and analysis based on actual numbers and trends, the underlying sociopolitical and sociocultural climate, and many other key factors—such as demographic shifts with fewer Boomers and more Gen Z voters, virtual mobilization through social media, and the clear and present dangers of Trump dominating the news cycle 24/7, obstructing, distracting, and preemptively undermining credibility in the electoral systems throughout the Biden administration—this is how I see it:

Trump is hemorrhaging support among women under 30, with a brutal 40-point deficit that doesn’t show signs of reversing. His supposed edge with young men is a meager 5 points—barely enough to make a dent and far from a guarantee of turnout from those men who are still undecided or unmotivated. Independents have already shown a noticeable tilt in early voting, which is historically high at over 77 million voters, indicating a public enthusiasm not seen in prior elections. What’s clear is that many independents are not just sitting on the sidelines; they’re mobilizing in what looks like a concerted effort against Trump’s campaign. This early turnout reflects the energy and frustration driving voters, especially younger demographics, and it’s setting up a stark divide as we move into Election Day.

I predict tomorrow will bring more than record-breaking turnout for Kamala Harris; it may well deliver one of the most resounding upsets in modern political history. Harris isn’t merely pulling numbers in battleground states; her appeal is resonating deep into traditionally red territories, zones Trump and his allies have long taken for granted. This shift signals more than a partisan swing; it speaks to a broader transformation that has been brewing, fueled by disillusionment with current leadership. If these early voting patterns carry through into Election Day, we could witness red states not just being competitive but flipping outright—a reflection of how deeply many Americans are craving a change in direction, even among voters once seen as Trump’s loyal base.

This momentum goes beyond the predictable demographics. Independent voters, many of whom lean conservative or are tired of Republican extremism, are casting ballots in a way that suggests they're not simply undecided or indifferent; they’re making a conscious choice, one that could shatter the traditional political map. Sociologically, this shift makes sense—it’s the natural fallout of years of polarizing governance and increasing alienation within conservative circles. Tomorrow could showcase a reality that transcends typical party affiliation, underscoring a shift among independents and so-called unaffiliated conservatives who are ready to support Harris. If this trend holds, it won’t just be a win for the Democrats; it’ll mark a major reckoning for the GOP's ideological grip on its own base.

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percontaion-points · 8 months ago

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Delicious Monsters chapters 3 & 4

Click to see the rest of the snark & image descriptions

Click here for the rest of the series!

Chapter 3

The thing about having a name like Brittney is that it creates a certain image. An impression. People have thoughts about a name like Brittney.

Picture a Brittney. Right now. Think of who that might be.

I bet you’re not imagining me.

That’s the best part about my name. People never see me coming.

I stride through the office, towering over the other interns at my full 5’11” height, taking up space with a Yeah, I’m fat, get over it attitude, black-and-lilaccolored braids swinging above my shoulders, and my laptop tucked under my arm. The thing about confidence is that it doesn’t matter if you really have it or not, so long as you pretend well enough.

The problem with the name Brittney is that it was so popular when millennials were being born. I’ve met so many Brittneys.

The problem with this character introduction isn’t the fact that she’s black. Because I’ve met black Brittneys before.

The problem is that the girl that I’m picturing is a giant bitch who thinks that she’s better than everybody. And uh… The introduction to this is already kind of proving my point.

“The stakeholders feel that ‘Forgotten Black Girls’ as a theme is a bit isolating and niche.”

Quick question: are the stakeholders white baby boomer men?

And I can show that her beloved house of miracles is a thin cover-up for a house of horrors. A sham, just like her.

Chapter 3 summary: I guess that the narration is going to switch between Brittany in the present day and Daisy 10 years earlier. Or something, IDK.

Anyway, Brittany is 19 years old, and works for an online company called Torte… But the only thing you need to know about this company is that it’s basically off-brand Buzzfeed. They started off doing content farm garbage, moved on to making videos making fun of their original videos, and then started branching out from there.

Brittany and her BFF, Jayden, got picked up by Torte because of their youtube channel, in which they discussed hauntings. Their supervisor, a do-nothing middle-aged white man, tells them that the stakeholders rejected their proposal about “Forgotten Black Girls”, with the thought that it was a little too niche.

Backing up a little, we’re introduced to some of Brittany’s obligatory Tragic Backstory™. She was abused a lot as a child, but then her mom turned her life around. Seemingly only so that she could write a best-selling book about it. Said book is on Torte’s “communal bookcase” in the office. The entire thing pisses Brittany off something fierce, but she can’t make a scene about it, or else it’ll make her situation worse.

Anyway, after their supervisor tells them to come up with a new proposal, Jayden mentions an anonymous email they got about the “miracle house” that supposedly cured Brittany’s mother, Daisy. (Yes, I’m aware that the maths ain’t mathing with that. I’m hoping for an explanation later.) However, in the email, the person implied that there was a darker side of the house that was now so famous thanks to Daisy’s book.

Brittany’s and Jayden’s proposal about “houses that kill” is immediately approved for the third season of their youtube series.

Chapter 4

Delighted. Absolutely delighted. She breathed out, “Yes.”

Chapter 4 summary: We’re back over with Daisy. Apparently, we’re going to be jumping back and forth between these two. Hoping for a big pay-off as to what’s going on later, but we’ll see.

Anyway, so Daisy goes back to the hovel of an apartment she shares with her mother. There’s a moment where she explains to the readers that in order to keep the ghosts away from her while she’s sleeping, she has to listen to Kidz Bop. (Covers of popular songs done by children, for children.) She hates it, but it works, so it doesn’t matter.

When she comes in, she finds her mom on the phone with grandma. They’re talking about The House. Which almost seems like one of those metaphorical things. “Our lives will be so much better when we’re able to afford a house!” kind of situations… Yet you know that mom will never be able to actually afford a house. And she also seems to blame Daisy for “wanting to live in the city”. Ugh.

Mom gets angry that Daisy is standing there, so Daisy goes into the bathroom, where she looks at herself in the mirror. She doesn’t know who the greasy-skinned girl staring back at her is. For sure not the girl that dated Noah. We’re then subjected to a painstakingly long and detailed description of Daisy washing and then combing out her hair. Why.

She eventually grabs her mom’s wig hair scissors, and starts hacking off her own hair. Mainly the parts of it that are chemically treated to be straight. Exactly like how Noah likes it.

As she does this, she thinks about how she accidentally got drunk at a college party with Noah’s friends. This girl is 17, BTW. Noah is 100% a groomer. It’s not so much the drinking that lead to their break-up, but the fact that she let slip that she’s not exactly in college. Because she’s still in high school. One of Noah’s female friends tried to message Daisy claiming to want to help (trust me, I’ve been on both sides of that conversation, and it’s never fun.), but Daisy blocked her. That was right before Noah ghosted her. You know, because Daisy accidentally outed him as a creeper.

Mom comes in and startles Daisy, so she accidentally slices her eyebrow with the scissors. As her mom helps Daisy to take care of the injury, she laments over Daisy having shorn most of her hair off. Daisy asks about The House, to which her mother only says “Yes”.

#delicious monsters #bookblr #book review

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jackalsinthekitchen · 10 months ago

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pop report #6 (billboard 200, week of 2/3/2024)

on dicks, or things that sound like them

I’ve mentioned it before, but my late buddy and I had a different relationship with the pop charts. I was raised – digesting the star-ratings in my dad’s giant album guides like gospel – to distrust the pop cultural world around me. I always felt out of step (like that girl in the Onion article) with the trends of my time; I was always making heroes out of bygone artists out of step with theirs. My bestie similarly distrusted new culture – it being the early 2000s, what was popular was often mean-spirited and overly prefab. But an odd affection for numbers (innate) and a higher tolerance for boomer-sanctioned fluff (instilled) made him pleased as peaches to ride around to the local oldies station. We doubled down on our anachronisms in a bunker of a band, but when we broke up and stepped separately into daylight, we each had new pop epiphanies. Because somewhere between ‘07 and ‘13, radio music got juicy.

Strong melodies are rarely in short supply, but other things had been adjusted. Hip-hop and pop production became indiscernible, the hook emphasis and contrapuntal construction of the latter absorbing the atmospheric and rhythmic virtues of the former. Spearheaded by artists like Lady Gaga and Beyoncé, women (many non-white) took pop over, tamping down indie tumors like Mumford and Sons and keeping the bros at bay. The most conventional such superstar, Taylor Swift, opened her music and mind to the new sonic fashions, while maintaining her foundation of catchy, emotionally inhabitable songs. A vision of a braver, more equitable world felt represented on the radio, and it was a trip to listen to. With digital production outgrowing its ungainly hallmarks, everything started to sound a little like a dream, and by six or seven years ago, what most people wanted to listen to was wonderful.

But pendulums have a way of swinging back, and while I can’t put my finger on what’s changing, I’m at least equipped to note a few data points and go hmmm. For instance: the top five albums currently perching atop Billboard’s 200 chart are by male artists. I’m a lot less savvy when it comes to analyzing the album charts, in some part because my friend talked about them less than the song charts. It’s often a mixed bag of rap platters, country platters, pop platters, soundtrack platters and evergreen old faves (Thriller; Rumours; Queen’s greatest hits; Elton John’s greatest hits; these days every Taylor Swift album). But with the influx of country bros up said charts – who as far as I’m concerned are always named Luke or Zach, even when they’re named Blake or Chris – you wonder why the Eagles’ Greatest Hits isn’t the hotcake it once was.

It bears mentioning that none of country-pop (much less country)’s women – Taylor Swift hasn’t counted for a while – are selling like the dudes are. I mused a few blogs ago that MAGA might partially account for the whitest genre’s ascendence, but if I’m being cynical I could go bigger. The resistance #metoo engendered (as progress does) obviously includes more than just the red hats. Not that I figure All Men are bulk-buying Morgan Wallen CDs solely out of spite, but it’s hard to imagine any mild-mannered or self-reflective men even streaming him. “Last Night” is one of many smashes he’s racked up to date. His country-rock is inflected with a steely pop sheen, and beefed up with rap-adjacent beats, not to mention a looser and less laconic vernacular than Southern-drawl singers are usually armed with. But that cocky song and its album were each the #1 sellers of 2023, which seems a shame when the best stuff (“Anti-Hero”, “Kill Bill”, “Flowers”, any Barbie single) came, yet again, from the better side of the battle of the sexes.

Unrefined as he may be, Wallen isn’t a menace – if grassroots red meat like “Rich Men North of Richmond” was always on top, things would be less nice. But he does seem likea dick, and it’s a shame when dicks win. Wallen’s album isn’t at #1 anymore, and I’m not super familiar with superseder 21 Savage’s work – though he was half of Drake’s sus Her Loss, which definitely had an indulgent-resentment-of-women vibe. And although from the opening monologue, his album American Dream codes sincere (sincere almost never being preferable), it’s nice in theory to have an album called American Dream at #1 when that album is by a Black hip-hop artist making no overt pop concessions. Anyway, like I said, I haven’t given it sufficient attention, and maybe it’s great. But it’s not revolutionary I’ll betcha, and a scan of the reviews solidifies this enough for me to write all this on my blog without worrying about doing 21 Savage too dirty.

Wallen’s album is at #2 – on the charts for the 47th week. I wonder, without caring to do the work to find out, if its preeminence is comparable to that of Goodbye Yellow Brick Road, enduring bestseller Elton John’s half-century-old blockbuster. That was a 2-LP set with 17 songs, and because Elton was the biggest artist in the pop music galaxy at that time, it listed for $5 more than a normal LP ($6.98). Wallen’s albums always contain something like 200 songs, so in theory, that spiffs up his sales. Also, his occasional loose tongue (“take care of this n*****”) and the “I’m a jerk but you love me” aura hallmarking his biggest hits almost definitely guarantees a dose of racists and douchebags in his audience share. But you don’t get to #1 without a portion of your constituency being honest-to-goodness Very Fine People. Then again, a lot of people sit out elections – just like Ariana says, “in case you haven’t noticed/everybody’s tired”.

Drake’s latest is #3, and while the title and imagery of For All the Dogs is less self-celebratorily male than Her Loss, it’s still a bad look from a distance. Drake really is the Elton John of his generation – every one of his albums and mixtapes and “playlists” has gone #1 on the Billboard 200, except the very early So Far Gone (#5 pop, #1 elsewhere) and something called Dark Lane Demo Tapes (#2 pop, #1 elsewhere). His reign has just about tripled John’s heyday (though the double-disc compilation Diamonds wouldn’t be a perpetual top 40 staple if John didn’t have decades’ worth of hits to his name). Though when his streak began, it was the Degrassi alum’s sheer niceness that set him apart – to where, when he came on strong to nominal work friends Nicki Minaj and Rihanna, you had to stifle a smirk – he’s been on something of a Dark Aubrey kick for a while. His flow remains a highly agreeable sound, but the charm’s been low (which is never Jay-Z’s problem), and his invention has never been strong enough to counterbalance it.

Next is Green Day. Green Day! A band, with guitars! At this point Green Day are an American institution, at a level above many of their diverse bands-with-guitars ‘90s peers – it doesn’t seem likely Billy Corgan, for instance, will be asked to turn one of his concept albums into a Broadway musical anytime soon. The band’s staying power, although they capitalized on fashionable liberal resistance and indie-derived pretentiousness with American Idiot, can be chalked up to the fact that they’ve always been more of a pop band than a punk band. But coming on like a punk band still helps. “The American Dream* is Killing Me”, Saviors’ opener, couches its good old-fashioned generalized protest in generic, Beatley melodics, and couches that in hard-within-reason guitars. The Tik Tok time-warping that tosses aging acts up the charts is heartening. Whether or not Saviors is good, Green Day feel like old-guard underdogs now, or at least old friends.

Rounding out our Penis Quintet is Noah Kahan’s Stick Season, the indie-boy fluke du jour. Every once in a while, people want to open the window of the pop palace we’re living in to more organic styles, e.g. the Green Day pop-punk model. When indie started really selling in this country, it wasn’t the soundscaping experimentalists or mordant wordsmiths – it was the real teary-eyed and sincere (wuh oh)-sounding people, leading up to people like the Lumineers, who lived at the crossroads between Arcade Fire and Mumford & Sons, and had about as much depth as the Archies but pretended otherwise. You can hear why Kahan is setting himself apart – the unconventional tinge in his voice helps lend a unique air to his lyrics, which are also unconventionally tinged. This isn’t the same as “clear-eyed” or “incisive”, though (much less mordant); the trick is to make you think you’re hearing something more outside the box than you are, which on the pop charts is sometimes just outside the box enough to be compelling. Nevertheless, he doesn’t seem like a dick – his music is as nice as it sounds, and his words’ heart is in the right place despite the weakness of the sauce. They aren’t very funny, but Kahan certainly is, at least when he’s talking about sunflower seed shells.

The rest of the top ten discontinues the pattern. Taylor bookends – #6 is her latest, which happens to be the long-awaited, marginally-differentiated re-recording of the album that launched her into pop super-stardom. Nothing she says isn’t calculated, but she’s right to tout her own prescience in the liner notes. There was liberation as well as mercenary benefit in roping pop into her music, in all its Nashville-bucking, cybernetic glory – and using the tradition of sexualized pop stars as a vehicle to amplify her rich-young-woman-about-town themes. But if 1989 wasn’t a money move (it was, at least a little), 1989 (Taylor’s Version) begins in that category. I note that “Is it Over Now”, her 9000th hit, has more of a self-repetitive vibe than usual. Then there’s Lover at #10 – on the wings of “Cruel Summer”, surely. The notoriously sunny album, brimming with shrewder pop gestures than her more consciously “artistic” last three, increasingly hits like a pre-COVID time capsule if not balm.

In between are two girls and a guy. #7 is last year’s from SZA, an always thoughtful, rarely compromising album auteur whose music rides that line between art and commerce better than most. #9 is country’s best example of same – the self-titled from Zach Bryan, foremost among the Luke and Blake crop as a singer and writer even if he’s no Tyler Childers in either department. Sandwiched between at #8 is Pink Friday 2, sequel to an album that back in 2010 felt like the shape of things to come. Well before huffers and puffers tread on the toes Taylor was dipping into pop waters, Nicki was getting slammed for loving pop and showing it. Now Pink Friday is regarded as the kind of classic none of her subsequent albums, which are always overlong and (how do I safely say this) temperamentally disagreeable, can hope to measure up to. Back around PF1, her verbal invention and shapeshifting ubiquity had me thinking, rockistly, “new Dylan”. Well: she wasn’t. But I’m glad she’s still selling some records.

I never turned my observation of the top five’s all-sausage status into a hypothesis; I’m not really good at hypotheses. But I wonder if there’s also a connection to the #1 song in the country right now, which is by Jack Harlow and is called “Lovin’ On Me”. On sight, Harlow is like a post-Post Malone, a beardy, dirtbaggy-looking white guy who’s sort of hip-hop and sort of not, and he’s been a big star for a minute. (My editor: “he doesn’t look like he has a stylist… or a shower, maybe.”) Like Drake, his flow has a downtempo, low-effort-seductive quality, and he’s possibly hotter than Post Malone – you can sort of see why Dua Lipa dated him, even if it took him putting out a million-selling mash note called “Dua Lipa” and it doesn’t look like it worked out. But I have to admit, I just don’t understand why “Lovin’ on Me” is number one. It’s one of those club-style songs so totally unmelodic it almost feels like an insult, and though “I’m vanilla baby/I’ll choke you but I ain’t a killer baby” is more on the gentlemanly side than is common for this playa-hype stuff, the attitude and verbiage are mostly not mold-breaking.

That line does give me pause; if your partner wants to be choked, and consent is properly brokered, then obliging is not only nice, but, lovin’, even. And while the chorus is a rejection, not an embrace, of BDSM predilections, it still hinges on “you can’t tie me down”, an age-old I’m-a-man-and-I-can-do-what-I-want trope. If American elections have proven anything, it’s that Americans don’t always pay careful attention to what they’re giving power to. The single’s lyric is all over the place (“I keep it short with a bitch, Lord Farquaad”), but one thing it is not is self-effacing. So maybe “Lovin’ on Me” is the druggy-hangout or night-at-the-strip-club soundtrack staple of the moment – for the kind of white bro who likes to pretend he’s (his idea of) a Black bro, or for Black bros united with them via sexism and taste for a certain sound. It’s also worth entertaining that, given its current primacy, a number of women like the song too.

I know it’s dumb and dangerous to speculate along dichotomous demographics (he says, right after doing just that). I remember quizzing my Black Lyft driver about his passion for Luke Combs’ “Fast Car”, which he did not know was a Tracy Chapman song and did not listen closely to enough to hear Combs refer to himself as a “checkout girl”. Instead, he felt drawn to it because of the nature of the narrator’s care, the I’ll-do-whatever-it-takes-for-us of it all. The reasons people love the music they love are often more visceral than complex. It’s not only conceivable but inevitable that “Lovin’ on Me”, by a white rapper who’s on record as a BLM supporter and has been praised for his self-interrogation, appeals to otherwise irreconcilable categories of listeners. But not the category I’m in, which is something like “well-intentioned, open-hearted, bi-vibes older millennial who loves music more than anything.”

Men are people too; I’m one, albeit a self-hating one. And lest I slip into misandry, let me concede that some forms of male aggro do relate to necessary strength, rather than the typical insecurity/emotional avoidance/urge to violence. Hip-hop’s strivers are economic cousins to Nashville’s nouveau riche, because some class disadvantages necessitate hardness to thrive and provide. Inherited toxicities can enflame this already combustible component something awful, but DJ Khaled (for example) insisting he deserves oral sex but his wife doesn’t because he puts food on the table (“ya gotta understand, I’m the king, I’m the don”, he actually said, not in a song but an interview) is an especially low bar. But men sometimes do live up to their projected strength – and there are times when what they’ve got is just what somebody needs. Looking askance at any consensus, like what song or album the biggest number of people are listening to, is a slippery slope if you don’t try to understand it first. Still, I’m playing American Dream right now, and still not sure how it’s won over this many people.

Maybe there's another key to what’s going on here. Many of today’s top hits are het-up and horny, just like “Lovin On Me” – Tate McRae’s “Greedy” (#3) which is plenty feminist, or Teddy Swims’ “Lose Control” (#4), a different twist on America’s main racial binary (country-looking white dude belts out barn-burning gospel/soul), or Tyla’s blissfully lubricious “Water” (#11). So maybe that’s why people keep banging “Lovin’ On Me”, which is also the first hit single since Rihanna’s “S&M” a bajillion years ago to turn on the phrase “whips and chains”. The cold is keeping people indoors, and Harlow’s hit is giving them ideas, so they’re jamming to it. Not here to knock your love, America: you fuck to what you wanna fuck to. But maybe being a straight man (ugh) is why I just can’t get it up, be it on a dancefloor or behind closed doors, to anyone who comes on like a dick.

*not the 21 Savage album

#jack harlow #21 savage #morgan wallen #drake #green day #noah kahan #taylor swift #sza #zach bryan #nicki minaj

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maxdibert · 1 month ago

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She's a Gen X British white woman writing in the 90s/00s. She's going to not line up exactly with modern, progressive ideals about writing women. I think this type of endless criticism over a children's book is just such a reach. There are hundreds of male authors whose female characters amount to "she breasted boobily down the stairs" but JKR is a bad writer because some of her female characters can come off slightly outdated to a modern reader?

I love how you call me a colonizer and then proceed to lecture me on how the British educational system works. It’s one of those dissonances some people have that... well, we just have to laugh because humor is the best way to deal with it.

First off, it’s not Gen X, it’s more boomer than anything else, but sure. Second, I don’t know why you’re bringing up male writers. We’re not talking about discrimination within the literary scene, nor about how male authors generally write poorly about their female characters or how poorly conceived they are. Just because there’s a gender problem rooted in character conception and men tend to be the ones most affected by this doesn’t mean there aren’t women whose vision of society and women’s roles isn’t negative. These aren’t mutually exclusive issues, and it’s not a valid argument to refute criticism of Rowling. Just as she has character development flaws, there are many women writers contemporary to Rowling who have done wonderful work with their female characters.

On another note, I see female characters as a whole that shape the vision of women in general within a novel. Focusing on the individual instead of the collective is absurd in terms of sociological and gender analysis.

You do by the time you reach adulthood (or at least if you going to partake in an attempt at literacy criticism of the series). It's a very well known that extreme bullying was (and still is) rife in elite British boarding schools.

I don’t know; I’m not going to get into that. Simply, a lot of British people have told me that what you’re saying is not exactly like that, and well, I’m more inclined to believe someone who’s British than someone who lives on the other side of the world. Likewise, I have British friends from when I lived there, and they don’t quite agree with this either. But I’m not going to dive into it since I’m not a native English speaker. What I will get into is the matter of laughing at your friend for having old underwear (they don’t say dirty, they say old and grey). Because if you know your friend lives in the worst hole in the area, in an extremely poor place, and you know their family is dirt poor, laughing at them for that is pretty shitty. But I don’t know, maybe you’re right, and for an adult woman who writes fanfiction, it’s a bit odd to laugh at people with zero financial resources for wearing dirty clothes. It’s not something I’m used to doing, not even as a teenager, to be honest.

Again your personal context doesn't really matter, but there's like no evidence he abused his wealth. He offered to take financial care of his childhood friend who has the equivalent of a disability.

I don’t understand why you refuse to let others use their personal context when you’re the one who initially brought up individual matters to discuss generalized sociological problems. But well, I suppose you play by one set of rules, and I’m supposed to follow another.

I want to believe that you have basic notions of certain theories because I’ve seen that you’re a radfem, and generally, in that movement, there are certain reference books about Marxism and class issues. So, I assume you’re familiar with power structures and how they work, and it shouldn’t be too hard to put two and two together and understand that a person who, in their sociocultural and political environment, holds all the capitals—economic capital, social capital, and the capital granted by status (in this case, blood purity)—is something that significantly influences power dynamics against people who have none of that. And the fact that you don’t pay someone to bully your classmate or cover up the bullying doesn’t mean that being literally a millionaire bullying someone from a slum lacks clear class symbolism and social implications. But if you want to ignore that because James did a charitable act for Remus, well, fine, do whatever you want.

Regarding James and Draco, it’s clear that you don’t understand the point of my complaints. The problem is precisely the lack of dissenting perspectives. The fact that Harry only associates with a type of people who reaffirm what he knows/thinks, and that his whole environment is an echo chamber, and Rowling doesn’t bother to add external nuances that could add complexity to his web of relationships and secondary characters, is lazy writing. What I’ve been criticizing from the beginning is that she uses the protagonist-narrator as an excuse not to bother explaining or clarifying certain things, and that’s a mistake because even with a protagonist-narrator, there are other resources to give the narrative a broader perspective. It’s not that hard to understand, really.

You seem to have a beef with Hermione-esque characters at any rate.

You’re a bit obsessed with the idea that I have something against Hermione, but that’s not the case. I have an issue with how Rowling presents certain types of women as valid and others as not. Maybe your obsession with my gripe against Hermione is just a personal projection, which would make sense because, to be a radfem, you certainly need to have quite a few unresolved issues with femininity in general.

At what point in the narrative are the female characters eroticised this way? Hermione, the naggy, know-it-all with frizzy hair? Definitely not a teenage boy's fantasy. The not all attractively described Luna, who goes far beyond being a typical oddball is not a teenage boy's fantasy.

The influence of the male gaze goes beyond productions or creations made by men; it’s not just about the sexualization of women but also how that sexualization has been embedded in our culture, influencing it to the point that, stereotypically, the female characters considered valid within the collective unconscious are those that fit into a series of classic archetypes. That’s what I’m talking about when I say that Rowling establishes a dichotomy between her female characters—who are much less developed than the male ones—where those who resemble hegemonic archetypes are treated positively, while those who deviate from those values are condemned by the narrative. If you don’t understand something so simple, which is the third time I’ve explained it, then that’s not my problem, honestly.

You've just made up an entirely fictional version of Hermione who is apparently mean to a lot of girls even though it's clear from the literal first book that she just has problems making friends and uses her intelligence as a mask for her insecurities.

I think you don’t understand the difference between trying to tear down Hermione and pointing out a series of problems I find when discussing the only truly important female character in the saga and how this female character apparently has no girl friends and holds problematic views on things related to femininity. You might find that normal and not problematic, but I don’t, precisely because it’s a book for children and teenagers and is influential during a key time in cognitive development and worldview formation. I think it’s important to establish positive roles when we’re talking about girls, but if you can’t see that because you’re too personally attached to Hermione since she made you feel less alone as a teenager, that’s not my problem.

Should I give you a medal?

No, sweetie, but you gave me a spiel about how you felt awful during your childhood and Hermione helped you not feel alone, so I thought we were narrating our life stories. Sorry for thinking I could also resort to personal experiences to build an argument. Next time, let me know that only you can do that, and I’ll approach it differently.

None of their views or your mother's are relevant to this discussion. JKR doesn't have to have the most progressive view on motherhood to offer her own valuable insights into a complex social roles.

Yes, they are, ever since you used the argument that the problem with Rowling’s vision is the time period and sociocultural context. If you’re going to use that argument, it’s logical to counter it with another one that invalidates it. It’s invalidated from the perspective that just because someone is a woman and grew up in the '70s doesn’t necessarily mean they must have a conservative view, because there are women raised in the '60s in even more oppressive and sexist contexts who don’t hold that view. If you’re going to discuss sociocultural issues, you can’t personalize, and if you do personalize because it suits your argument, then don’t complain if it’s countered with the same argument. What you’re doing is completely absurd.

At the time she was a single mother who had just gotten out of an abusive relationship with her husband and relying on help from female relatives. Ergo, she "glorifies" motherhood (readL has them play an important role in the narrative). I don't know where you've gotten the latter half of the last sentence from. She doesn't say any of that, that's your imagined version of the story talking.

And that’s why I have to stop criticizing how in her work, traditional, mythified motherhood is rewarded by the narrative while the lack of motherhood or non-conventional motherhood is condemned? What the hell?

She isn't obligated to write a feminist masterpiece on motherhood in her children's fantasy series. She is more than allowed to reflect on what she herself has witnessed and experienced when it comes to motherhood.

No, she doesn’t have to, but no one’s saying that. I think you’re quite mistaken. No author, male or female, has to write with a gender perspective; they can write however they want. But if we’re doing a gender perspective critique, it’s normal to highlight what’s questionable from a feminist point of view. I think you still don’t understand what this is about. This isn’t about demanding that Rowling write the way I want or like; it’s about having a series of books that we can analyze and critique. I’m analyzing the female characters and their dynamics and laying out my perspective. Whatever is behind that or Rowling’s motivations are irrelevant to the conversation because I’m not judging her intentions but the result.

I also went to Catholic school and was raised Greek Orthodox, you really gotta stop acting like you had some unique experiences. But if you must, Judeo-Christian as a term doesn't even make sense to use when you're arguing about the New Testament/Virgin Mary. Just say Christian for the love of god. Regardless, Mary doesn't have a sacrificial role in the New Testament? At least not like the mothers in HP do?

The term Judeo-Christian is used because Christianity—and thus all cultures profoundly influenced by it, especially the Catholic branch in Europe—has a significant influence from Judaism; it literally stems from it. That’s why it’s understood as Judeo-Christian culture. It’s quite common to use that term in European contexts. Maybe it’s a cultural issue, as you say, and that’s why it confused you.

Are you seriously saying that the Virgin Mary doesn’t have a sacrificial role? The Virgin Mary is THE mother par excellence, the one who lives entirely for her son, the one who accompanies him when they crucify him, the one who watches over him on the cross. The Virgin Mary sacrifices her entire life in service to her son as the son of God. Please, she’s the quintessential reference in all the books that talk about gender and the virgin-mother-whore dichotomy as archetypes of women within patriarchy. Are you really telling me that you even question something so basic? I mean, what can I say? I lol a little, honestly.

Lucius has more relevance because in the British upper class system he represents, it is the patriarchs of the family who are more active in reinforcing the class system.

It’s not just that they have jobs, it’s that all the male secondary characters are much more developed, better narrated, and more fully constructed than the female ones. The female characters who have more background have a male counterpart (often a partner) who is more complete. That’s the complaint. And no, I don’t want Rowling to write a feminist manifesto; I’ve already explained what this is about above.

Fleur's treatment is a tongue-in-cheek is a reference to the way British women view French women as snobby and beautiful

Look, you don’t need to tell me how the British see the French; we all see the French that way. Any European sees the French that way. I lived in France for a year, and I can say that it’s not just a stereotype in some areas. But, again, I’m telling you, you’re analyzing this on an individual level while I’m talking about global issues and facts: the fact is that several women mock Fleur, women that the narrative portrays as good, women considered important enough to be protagonists or the protagonist's girlfriend. The fact is that Fleur is the only girl in the tournament, and out of the four participants, she gets the worst treatment. No matter how much you try to theorize and rationalize the reasons, the reality is that when you look at it from a broader perspective, there’s a clear gender differentiation in the story that disadvantages women. And that’s it, nothing more to it.

You desperately want Harry Potter to divulge into themes you personally find interesting. You’re partaking in a cardinal sin of media literacy. You’re examining it from a perspective of what it should be, rather than what it is.

I’ve told you quite a few things, but you’ve completely ignored them because you need to defend J.K. Rowling at all costs, in case your official financier of radfem takes a hit. Because if you lose those accounts with millions of followers legitimizing your speeches, your entire setup might collapse.

Btw i'm not going to argue more about this because i think i said pretty clear what are my views and why and answer all of this takes me a lot of time i prefer to expend in other matters. So think what you want to think, i really don't care.

Lily doesn’t seem to think she’s done anything wrong by insulting his poverty and aligning herself with his abusers - only Severus is remorseful, and the trauma that caused him to lash out was considerably worse than the trauma that caused her to lash out. She believes he deserves it, as apparently she believed his abuse was amusing. And I’d be totally fine with this from a character perspective because it’s the teenage condition to be self-centred and poor at self-reflection. But the *narrative* (and the author in interviews) doesn’t believe Lily was in the wrong here. And it believes Lily made the correct moral judgment on the two boys when she casts Severus off for his crime and falls in love with James despite his. But I just don’t buy into that framing, and I didn’t even when I was 10. The use of the word ‘mudblood’ while in considerable distress is not a greater sin than sexual assault.

Lily feels no remorse, nor does she think it's wrong to half-smile at the bully who’s targeting your so-called friend. She doesn’t even consider that this might be why your supposed best friend insulted you in the first place. But here’s the thing: this isn't Lily's fault. It's J.K. Rowling's fault, and the way she portrays ethical dilemmas throughout the series, blurring the lines between what's morally right and wrong. Now, if you’ll allow me, before diving into the dynamics between Lily and Severus, I’d like to provide some context as to why I believe the biggest issue with many of the characters’ attitudes in the series lies in Rowling’s constant attempt to project her own moral compass through her writing. In doing so, she falls into repeated inconsistencies and creates a narrative that’s all over the place when it comes to how certain characters are treated.

Rowling is never consistent. She portrays Draco Malfoy as an irredeemable, terrible character because he’s a rich kid spoiled by his parents, using his power and influence to bully those weaker than him. Yet, she gives James the benefit of the doubt, even though he behaved exactly the same way: a rich bully who used his status and his friends to gang up on the vulnerable. From early interviews, Rowling claimed Pansy Parkinson is practically the reincarnation of Satan, even though, of all the antagonists, Pansy is probably one of the least relevant and harmless. This is simply because Rowling projected onto her the stereotypical “mean girls” who mock those who read and study—something Rowling clearly couldn’t stand. On the other hand, she glorifies characters like Ginny, who has a pretty nasty attitude towards any girl she doesn’t consider cool or "not like the other girls." Ginny treats Fleur like a witch when Fleur has done nothing wrong—her only crime is being incredibly beautiful, knowing it, and not constantly apologizing for it. And this treatment of female characters throughout the series deserves a proper gendered critique, because they fall into every stereotype and archetype set by the traditional male gaze.

In Rowling's world, there are always two kinds of women. When it comes to younger, adolescent characters, there are the "good" women—those who don’t fit the typical feminine mold, the weird ones (like Luna), the tomboys who are “one of the guys” (like Ginny), or the overly studious ones who don’t have time for frivolous things like reading magazines or talking about boys (like Hermione). In other words, the cool girls, the ones who are supposed to be role models, are those who "aren’t like the other girls." But not because they’re deconstructing gender roles consciously—they just happen to embody the fantasy of the woman who can give you kids while still being one of your bros. It’s a common male fantasy, where women abandon the graceful, ethereal, delicate image to fit into a set of needs the modern man has. These are "manic pixie dream girls," hiding a deeply internalized misogyny as they are presented as individuals opposed to the “other” women—the “other” being less cool because they lack traditionally masculine traits, and thus are less than. We see this not only with how Fleur is treated but also with the disdain or prejudice Hermione shows towards girls like Lavender or the Patil sisters, just because they act like normal teenagers instead of validating themselves through academia to compensate for their inferiority complex (cough, cough).

Then we have the adult female characters, where Rowling’s toxic and incredibly conservative view of motherhood kicks in. Except for McGonagall, the rest of the adult women who are seen in a positive light are either already mothers or end up becoming mothers. And for them, motherhood is everything. They are mothers first and women second, in every case. Lily is Harry’s mother, who sacrifices herself for him. Molly is the Weasley matriarch, whose entire life revolves around her kids—she hasn’t even looked for a job (which wouldn’t be a bad idea, considering the family’s financial situation), nor does she have any aspirations beyond knitting sweaters and worrying about her children. Even Narcissa, a negative character throughout most of the saga, earns her redemption solely because she loves her son and is willing to risk everything for him. Nymphadora Tonks, a 25-year-old woman, ends up pregnant by a man 13 years older than her and goes from being an independent Auror with her own life to a passive housewife waiting for her man, who is off having an existential crisis. The adult women in the saga aren’t independent individuals—they’re extensions of their children. And any woman who isn’t a perfect, self-sacrificing mother (like Merope Gaunt) is either a psychopath or portrayed as a terrible person.

What I’m getting at is that Rowling is far from impartial in the moral narrative of the story. In fact, she’s absolutely inconsistent. She presents characters she sells as "good," whose attitudes are absolute trash, yet she continues to insist that they’re good and perfect. This is especially obvious with her female characters, because throughout the seven books, she constantly emphasizes her ideal of the "perfect woman" in terms of tastes, motivations, and behavior. Hermione is a self-insert, Ginny is probably a projection of who Rowling wishes she could’ve been, and Luna is the quirky girl who isn’t “threatening” to other women, and is treated with a condescending, paternalistic lens. They are either Rowling’s aspirational figures or archetypes that don’t bother her, or they’re reduced to filler characters who are mistreated by the narrative.

When it comes to Lily, the problem is that Rowling spends half the saga painting her as some kind of Mother Teresa. She’s the quintessence of motherhood—but not a conscious, modern motherhood, but one rooted in traditional Judeo-Christian ideals. This is the kind of motherhood that can do no wrong, the one that represents women because, in this view, a woman can’t be fulfilled unless she’s a mother. Lily dies for her son, and that love creates a divine, protective magic. She’s beautiful, popular, and one of the most popular guys at school is after her. Clearly, she must be a saint, because everyone describes her as such. And while the narrative does question James’s perfection, even if vaguely and unsuccessfully, it doesn’t do the same with Lily. Harry questions his father’s actions but never his mother’s. He never stops to think about how problematic it is that his mother almost laughed at Severus or refused to hear his apology, or that she couldn’t empathize with what he was going through, knowing full well the kind of situation Severus had at home. When a narrative tells you something but never shows it, and worse, never questions it, that’s a problem. Something doesn’t add up. Rowling is obsessed with showing her own moral line through her characters and doesn’t realize how incoherent it is to portray Lily as someone who always does the right thing when what we actually see of her suggests that, if she really liked James all along, not only is she a hypocrite, but she’s also quite superficial with questionable principles. But this is never addressed, never explored. It would be fascinating if it were, giving the character more depth and making her more relatable. But Rowling brushes all this aside, as she does with so many other things, because to her, Lily was a role model, despite the fact that anyone with common sense can see she was just a terrible friend who got tired of justifying why she hung out with a poor, scruffy kid and ultimately decided it made more sense to date the rich, handsome bully.

#i get bored of this #sorry #my adhd is adhding #this conversation doesn't give me enough dopamine

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angieschiffahoi · 4 years ago

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also i know this show isn’t exactly aware of how racist it is (or maybe it is and just doesn’t care), but benching dualla again after her breakup with her much less interesting husband? frak you

#she spoke... what? two lines in two or three episodes? ugh #also i just found out boomer & tigh were black men in the og series #they at least made sharon a woman of color #but why was tigh cast as white? what was the point? is it because adama isn’t white?#even though they gave #him two white sons and blue contact lenses #oh jeez #angie rants #ignore #battlestar galactica #bsg spoilers #tw: racism

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suna-reversed · 4 years ago

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Mafia AU! Suna x reader ft Miya twins

2k+ word fic

(warnings/tags- fingering, slight degredation, exhibitionism, hair pulling, oral [male receiving], male masturbation, mentions of breeding, mentions of violence, slight yandere themes)

You felt the cool brush of air against your dripping heat as your underwear was pushed to the side, your wetness immediately coming in contact with the growing bulge on the lap that you sat on.

Suna spread his knees further, hands gripping your thighs so that you were on full display to the lust filled hungry eyes of the Miyas. One of his hands came up to play with your exposed breasts that he had hastily pulled out of your dress, not even bothering to unclasp your bra as he opted to simply tear it off.

You leaned back farther against his chest with a sigh as he twisted one of your nipples, a small gasp escaping your lips at his cold touch.

“C’mon pretty girl, don’t keep those sweet moans hidden from us.”

Said an accented voice, followed by the sound of a zipper opening. You knew Atsumu would be the first one to break. Suna had precisely told you so. But you weren’t done with the task at hand just yet.

Suna’s hand on your thigh grazed dangerously close to your heat,

“Speak up doll, tell Atsumu-kun who makes you moan this good.”

Turning your head towards him with a doe-like look in your eyes, you grinded your hips down onto Suna’s hardening member as you replied,

“You daddy- daddy makes me feel so good- ah fuck!” You were cut off by the moan that escaped past your lips as you felt fingers come directly down onto your sensitive little clit, rubbing circles as the hand on your breast continued to toy with your nipples.

Atsumu had fully pulled out his cock from his briefs by now, the tip a shade darker than his skin, oozing with pre-cum as he slowly started to stroke himself.

“Her pretty little cunt is so tight- even after I’ve fucked it hard and deep almost every single night.” Suna growled, two of his fingers slowly entering you causing lewd squelching sounds as he began to pump them.

Your moans synched up with Atsumu’s heavy grunts and breaths, a profanity leaving his lips every now and then as he started to stroke himself faster. You felt the hand on your breast come up to grip your jaw, turning your head towards Atsumu whose eyes were locked onto you as his strokes became slower. Suna brought his fingers to your lips and you instinctively took them in your mouth, sucking on them, your moans being muffled as the fingers stuffed up your cunt moved faster. Your hips bucked up in response as you felt the familiar coil tighten in your stomach,

“Daddy please-fuck- so close...please let me cum!”

“Go ahead doll, cum all around my fingers”

That was all that was needed for you to crumble around the slender fingers inside you, back arching as you felt your own wetness drip down your thighs.

Your release seemed to be the blonde twin’s undoing as he too came with a loud “fuck!”, spurts of his load dripping down the leather material of the sofa he sat on.

You slumped back in Suna’s lap, eyes closing as you steadied your breathing, Suna’s hands coming up to tuck in your breasts back into the dress.

“I sure do hope the show isn’t over yet, is it?”

A shiver went down your spine at the husky foreign voice. You had almost forgotten that he was still there. Timidly opening your eyes, you saw him look at you with a smirk plastered on his face as he swirled around the whiskey in his glass.

“Always the late boomer aren’t you” the other twin said jokingly. You expected the silver haired man to perhaps reply with a snarky comeback. Instead, he sent down a blood chilling glare towards his brother that had even you quivering.

You felt Suna’s thumb rub circles into your thigh, deftly pulling away to tap thrice on your skin. A sign to ask if you were okay. You replied back by tapping his wrist twice. Sighing, you felt Suna sliding you down onto the couch next to him.

“Of course not, how can we finish off without our guest having had...fun” Suna replied smoothly.

Osamu smirked once more, eyes still plastered onto you as he lowly said,

“Well, I’m afraid I’m not as easy to persuade as my brother. I would much rather prefer a...personalised performance.”

A scoff could be heard in the back from Atsumu as you saw Suna’s fox-like eyes narrow, his own lips curling up into a smile and you swore you could’ve pictured him internally smashing the quick-tongued man’s head against the glass table in front of you repeatedly. You slid your hand across his thigh, squeezing twice.

Osamu didn’t miss the gesture.

“Not one to share are you? Afraid your pretty little thing might leave yer balls hanging once she finds better?”

He had said it so nonchalantly. Like a childhood friend passing on an inside joke to his mate. Fucking hell- this man truly had no concern for his own life, you thought to yourself.

You felt the tension in the room as Suna stood up. He wasn’t going to ruin this after what you had just got through, was he? No, you still had to buy more time. You felt him leisurely pick up a glass of drink from the bar counter as he came to stand behind you on the sofa.

“Why would I? You, her and I all know whose cock she’d be screaming on the loudest at the end of the night.” He said, a hand coming down to rest on your shoulder before he continued,

“However...in this case- well, she gets to decide whether she wants some pathetic other cock or not. She does have a thing for always getting new toys-” he paused, ruffling your hair as he mustered up the cheekiest smile possible, “...I do warn you though, they often end up getting thrown away...or even destroyed at times.”

Osamu’s smirk had turned into a clipped smile by now. Atsumu let out a nervous laugh, hoping to ease down the thick veil of tension in the room. Your brain played out all the scenarios in which this situation could turn into an absolute train wreck. So you did the best thing you could have. Looking up, you lightly tugged at Suna’s jacket, making him immediately snap his head towards you,

“Daddy- can- can I?” Your innocent voice seemed to make his own cock twitch, and you knew it had a similar effect on Osamu as you looked back at him shyly. These men were so easy to manipulate once all the blood in their brain flowed down straight to their dicks. You hit the final nail as you continued,

“Don’t want your guests gone without having had fun daddy- I wanna be good for you- for them.”

That made Osamu react out of character for the first time that night as he let out a deep sigh, moving a little to clearly adjust the pressure in his groin. On the other hand, you knew Suna saw through your act. He knew that you’d much rather have these men begging on their knees, and surely not for pleasure. But you had just confirmed your consent, and he did need more time, so he wrapped his ring covered fingers around your throat making you look up at him,

“Okay then- whatever you want doll.”

That was all the signal needed for you to get up, swaying your hips slightly as you walked towards Osamu. He apprehended you with an appreciative gaze as you came to stand right in front of him, before slowly getting down on your knees, moving your hands to place them on his muscular thighs. You heard a “thump” in the background which you assumed was Suna plopping down onto the couch. From the corner of your eye, you could already see that the blonde twin had once again become hard, simply at the gesture of you bending down.

“Still can’t get your full attention, can I ?”

The deep voice snapped you out of your trance as a knuckle brushed across your cheekbone. You looked up at the electrifying man. He had undid a few buttons of his white shirt, revealing his tattoo clad chest. He lightly flicked your nose with his index finger and you felt almost guilty as your core tightened at the subtle gesture.

Batting your eyelashes at him, you slowly slid your hands up to palm him over his growing bulge. You heard the lightest groan escape his throat, and that only spurred on your confidence as you started to unbutton his pants, pulling out his thick girth to slide your thumb across the pre-cum dripping off his tip. Pumping his length a few times, you leaned forward to lick a long stripe from the base up his shaft, stopping at the top to suck on his tip. That single move had almost broken his stoic demeanour as he bucked his hips up, a loud groan leaving his mouth as his fingers came to tangle themselves in your hair. Taking as much of him as possible, you let him set the pace as he rocked your head around his huge girth. Tears welled up in your eyes as he hit the back of your throat, but you continued sucking, drool falling out of your mouth mixed with his pre-cum as a string of moans left his mouth. Your hands came up to stroke what you couldn’t take inside your mouth. You pulled up to suck on his sensitive tip once more before going back to taking him deep in your throat.

“Fuck-fuck I’m close”

You hummed around his cock, intent on breaking one of the most dangerous men in the district, but a whine left you as your head was harshly pulled back by your hair, Osamu’s own frustration being signified by a loud groan.

“Only I cum in her mouth” Suna said possessively, “- continue stroking him baby”

Osamu was shooting daggers at the dark haired man standing protectively behind you. But his attention was ripped away from the violent thoughts as he felt your hands stroking him so well- fuck- he could’ve cum right there as he looked at your fucked out face, your hair mused by his administrations, lips swollen and dried tear stains marking your face. You were the most beautiful thing he had ever laid his eyes on. He wanted to ruin you, and he promised himself he’d make you his, no matter what it takes.

You had looked up at Osamu and felt his gaze darken, almost a tint of madness behind it as you continued to stroke him. You felt his climax approaching as his legs began to shake and his moans got louder, pumping him harder and faster, you moved one hand to brush your thumb against his tip knowing he liked it. And it worked as it snapped the restraint in him as he let go, spurting out thick layers of his cum all over his pants and your hands.

“Thank you angel” he had murmured, and Suna’s patience had finally run thin as he had pulled you up, giving you a tissue for you to clean yourself. You noticed Atsumu had managed to finish once more too as he grabbed a box of tissues for himself. You were barely able to meet the eyes of the other twin as Suna had thrown his suit jacket over your shoulders, pushing you out and instructing his bodyguards to escort you to your room, where you had immediately passed out from the exhaustion of all the events of the night.

——————————

Your eyes fluttered open to a hand caressing the back of your head and a strong tattooed arm wrapped around your waist.

“Did it go well?” You mumbled against his chest.

Suna looked down at you, eyes filled with adoration and an emotion you couldn’t quite figure out.

“It did. Kita managed to meet up with the mole in their gang while they were busy with us. The diamonds were easily switched with the fake copies after that.” You sighed in relief, putting your head on his chest, “And by the time the Miyas do realise what has happened, they’d be way out of the province and surrounded by Ushijima and his gang.”

“But...what if they realise it before they’ve left, are you su-”

Your worries were cut off with a deep kiss pressed to your lips. You returned it with equal intensity, a small giggle escaping your lips. But your smile faded as you looked back at the glassy eyes of your lover.

“You’re mine, okay?” He mumbled while peppering kisses against your forehead. You were completely thrown off by his statement, surely he couldn’t believe that you’d ever choose anyone else over him?

“Please tell me you’re mine”

Your heart cracked at his plea laced with desperation. You immediately responded by kissing him once again, moving your leg across his and pulling yourself over so that you were straddling his lap.

“I’m yours-only yours” you mumbled against his lips. Your admission set something feral off in him as he growled into your mouth. Your mind flashed to a particular set of cerulean blue eyes for just the fraction of a second. You threw aside the intrusive thought as your lover’s hands came down to knead your ass, and you felt his member poke against the inside of your thigh,

“Can’t wait to fuck you full of my cum princess- gonna make you cum over and over again until you’re begging me to stop.”

Fuck, you’d put your life on the line everyday if this is what you got at the end of it.

-extra cut below-

“Who were they taken by?”

“Shiratorizawa. 8 dead”

“My brother?”

“They’ve kept him separate for now. Most likely for hostage money.”

“So that’s how they play huh?”

“We’ll help you fix it, after all, our gangs didn’t come to a peace agreement for nothing. At least we still have you...which does bring me to the question, why did you decide to stay back?”

“I had something I had to...take care of.”

The silver haired man clenched his jaw, looking down at the collar engraved with the word “angel” across it. A deranged smile spread across his face,

“You know what? I think I’m gonna deal with this by myself. That brat ‘Tsumu needs some manners beaten into him anyways.” He paused, “Do me a favour though Bokuto- get me all the information possible on that fucker Rintarou- everywhere he goes, who he meets, his personal cars, owned clubs, his close relations.”

“You got it.”

Oh, he was gonna have so much fun hunting down his innocent little dove

A/N: thank you so SO much for 500 followers!! Planning a kink-list event at 700!

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definitearticle · 4 years ago

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Dear Baby Boomers...

"When you're accustomed to privilege, equality feels like oppression."

Older friends, come in! Sit down! I'm so glad you came.

Can I get you a water?

So listen. As your friendly neighborhood geriatric millennial, I need you to understand something. It's important, and it's going to hurt. But pain can be a sign of growth, and I want you to hear this from a friend. So know that this comes from a place of love.

So nu. I'm gonna ease into this by making sure we're on the same page with some ideas.

You know Bob Dylan's song, "The Times They Are A-Changin'," yeah? It might not have been THE anthem of your youth, but it's certainly one that's held up over time. It speaks to the ever-continuing cycle of change and the need for members of the previous generation (and those in power generally) to "get out of the [way] if you can't lend a hand."

Thing is, younger generations have been asking older generations to listen, to understand, and to help the culture progress since time immemorial. And older generations have traditionally pushed back. So your generation's experience of pushing your parents' generation into begrudging acceptance of civil rights, feminism, et al, isn't new.

But y'all came up with some great turns of phrase to express it. One of my favorites, technically coined by Jack Weinberg (5 years too old to be a Baby Boomer) was "Don't trust anyone over 30." It was an offhand phrase said in anger when Weinberg felt that the reporter interviewing him wasn't actually listening, but was instead looking for ulterior motives so that he could dismiss the message of his protest.

But the phrase stuck, and it was used not only as a rallying cry, but also as a talking point by older folks who wanted to dismiss the New Left as a bunch of whiny brats, rather than people we now know were on the right side of history regarding the war, police brutality, and so on.

So with that in mind, in the words of The Who, let's talk about MY generation, and the even younger generation just starting to come into their own.

You know how a few years ago, there were a whole lot of women in the #MeToo movement who were talking about their experiences with men and how they constantly feared sexual assault? And then you had a whole bunch of idiots coming on saying "Not all men!" because they weren't used to their demographic being the target of negative criticism? Yeah, they were idiots, and you knew it. Of course "not all men." But the MeToo movement wasn't about hating men. It was about hearing women and understanding their fears.

And by and large, you understood that. You were pretty solid on it. Good for you! No, seriously, I'm really proud of you for continuing the fight for feminism that you were on the front lines of back in your more enthusiastic years.

And you know how #BlackLivesMatter has been a thing for several years now, and how it's really a continuation of the Civil Rights movement that you grew up in? But of course, idiots tried to reframe the narrative by saying "All lives matter!" And you knew that that was just a smokescreen. Of course all lives matter, but once again black lives were being treated as if they don't matter. And the reason you recognized this was because was all familiar to you. It was the same scene you remember playing out on your 12" black-and-white screens decades ago, where protests erupted against an injustice (frequently assault or murder of an unarmed black man) and the resulting police violence shook the conscience of the country.

So you stood with BLM, or at the very least listened and acknowledged when it was explained to you. We appreciate it, truly. We do.

But here's the thing. You're not the only ones we were talking to. And a whole lot of the "all lives matter!" and "not all men!" crowd? They were from your generation. Now, not all of them, certainly. We definitely have our regressive stooges in Gen X and Millenial age groups. But let's be honest, a strong majority of the people raising a ruckus against "these kids today, with their PC woke brigade cancel culture" are members of the Baby Boom generation. And those who aren't? Well...they have the same kind of regressive attitude that comes from being the third generation out.

You know...like your parents and grandparents were when Dylan wrote his song. When your social circle embraced "Don't trust anyone over 30."

There's a frustration that comes from trying to explain something important to people who appear to not wish to listen to you, but are instead spending their time looking for reasons to discredit you, or make you feel inferior, or find any excuse to belittle you and the incredibly important message you're trying to express. When you get to that breaking point, you need a way to ripcord out of the conversation in a way that expresses not only that you're through pretending to maintain civil discourse, but also that you recognize that there was no intent for honest dialogue in the first place. You need a shorthand phrase for "You're a dishonest, condescending jerk who couldn't care less about doing the right thing or about the lives of anyone other than yourself. I am through wasting my time casting pearls before swine. Good day, sir! I SAID GOOD DAY!"

Weinberg felt it in his interview.

You've undoubtedly felt it yourself, countless times.

My generation feels it constantly. And we've come up with a pretty good phrase that encapsulates our frustration with those in power who've apparently forgotten the lessons of the past and are happy to sit in apathy in the middle of the road and never lend a hand.

And that phrase is "Okay, Boomer."

Oof. Yeah.

I know.

It stings. A lot.

And I can hear you screaming at me right now. "How dare you judge us based on our age! This is ageism, pure and simple! It's hate! Not all old people! All ages matter!"

Shhh, shhh, it's okay. You're in a safe space. We're friends. No one is judging you.

See, just like MeToo wasn't denigrating all men, and BLM wasn't saying that non-black lives didn't matter, the use of "Boomer" here is not about age. It's about the same progressive vs regressive divide you experienced when you were young, that was largely drawn along generational lines.

Not all Baby Boomers are "Okay, Boomers," and not all "Okay, Boomers" are Baby Boomers.

If you're with us on the issues, if you're supportive of people's self-identity and fight for equality, then it doesn't matter what age you are. You're gold.

But if you get told "Okay, Boomer," it's not about your age either. You've just been told that your approach to the conversation indicates to the speaker that you don't want to engage on the issues in an open and honest manner.

It means that you've probably hit a blind spot in your experience which is incredibly common and nothing to be ashamed of, but is also something that needs to be addressed.

It means you've upset the person talking to you, and they've given up trying to be reasonable with you.

It's not hate speech. It's not ageism.

It's a wake-up call. For the times, they are a-changin'.

Weinberg aged out of the demographic he framed in his statement 5 years after he made it. But from what I can find online, he continues to this day to fight the good fight. He was an anti-war activist and a union organizer before becoming a champion of environmental issues. He turned 81 earlier this year. A statistical tally in the Silent Generation, he was nonetheless clearly a member of a young Baby Boomer movement in their prime.

You can stick with us. Join your voice to ours like Weinberg joined his voice to your generation's. Like Martin Luther King (born 1929) did. Like Abbie Hoffman (1936), John Lewis (1940), Gloria Steinem (1934), Bertrand Russel (1872)...

There's plenty of room on the right side of history to be an older person that the young'uns can trust, a mentor we can talk to, someone who will actually *listen* to us and help us move the culture forward.

Or you can be someone who embodies the cause of the admonishment "Never trust anyone over 30."

But if you decide to do that, if you choose to close your ears to the pleas of the younger generation because they don't show you deference and respect? Then you're not a Baby Boomer, a phrase once used to dismiss your generation as youthful, idealistic, and unreasonable.

Then you're just an "Okay, Boomer."

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skimcasual · 3 years ago

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tbh, I hate using social media today. It’s an otherwise perfectly fine Saturday, except it’s *that* day so I gotta go mute words such as “victim” “victims” “towers” and “9/11″ to make it less obviously *that* day. And I live in New York (the state not the city, but we are only about 2 hours drive from NYC). What I dislike the most about today is the nationalism and the racism (xenophobia).

I thought I might write down what I can remember of *that* day so that I may never have to recollect it or think about it again unless I want to. I remember I was in 10th grade. The teachers were muttering something to each other, and then I changed classes to go to science. At science class, the TV was on. Every classroom had a TV that was primarily to watch VHS tapes on (some classes were lucky enough to have a DVD player attached to the TV) but it was playing the news.

I had never seen the news on the TV in school. The science teacher hardly used the television let alone put live TV on it. So I knew something really weird or big must have happened if the TV needs to be on and if the teacher’s staring at it. I don’t remember exactly what time it is, but it was morning.

I don’t remember the exact details on if we were watching the TV before both planes hit or only one plane hit, but I remember the rest of the week was really weird. People were sad-ish but nobody in the school that I knew personally had any direct family that had died. I think one of the teachers -- maybe my English teacher Ledet -- mentioned that their dad had helped build the towers.

I was very bipolar disordered most of my teen years, so during a low, I drew scary black and red drawings to see what it was I was feeling out onto paper so I could see it. My mom later found those drawings and scolded me for drawing frightening drawings when everyone is very sensitive because of the recent events. I also wrote some stories to exploit the recent event that my friends told me were in poor taste so those stories never saw the light of day ever again.

There was two south asian girls in my regents math class with the new young blonde teacher that I did not like. One girl had her hair tied back and another girl had her head in hijab. Like it was always perfectly pinned around her cute still-child-like face. Either both or just the girl in hijab suddenly stopped coming to school. Also some of the white boys and a few of the white girls were getting very aggressively nationalistic and talking about what they saw on the news or heard their adults talking about, which was mostly about how “America’s gonna go to war against terrorism!!!”, which I felt was none of my business but also I knew that was somewhere between xenophobia and racism.

Everybody white was really tense for a couple of weeks minimum over how they gotta get revenge.

I didn’t realize how much white folks were buying into this nonsense about where the terrorists came from and how America is going to go get them until I visited a white friend’s house. Their relative had come over for whatever reason, and when I mentioned there is no proven evidence that those specific terrorists are responsible, he got really mad at me (a fully grown male adult at me -- a 16 year old asian girl) that I didn’t believe the brown terrorists were responsible. I did not believe that information because 1. the information sure appeared quickly! way too conveinently quickly 2. the information is impossible to verify or has questionable sources

Anyway after that I stopped talking to white people about 9/11. I stuck to overhearing them.

And so much for all that talk about how racism isn’t that bad or that it was over that my white friends told me about in junior high and 9th grade when I’d mention various racist experience I would have: there was local news about south-asian taxi drivers in NYC getting beat up. I thought they said NYC is really diverse and less racist, yet white men were beating people up for not being white. It would still be another 5 years until I really fully understood how much racism was not over, but I think that was my first peep into how Japanese Internment was completely possible to happen again (and happened) to whatever group of non-white people that white people didn’t like.

By “NYC is diverse” they mean there was a variety of white and white-passing immigrants are welcomed there, but idk if the rest of us are truly welcome there. Apparently we can get beat up for driving taxis while looking like the wrong type of minority race?

It was after this that there was a lot of boomers on the news complaining that it’s too hard to take their shoes off to board airplanes, and there was baggage fees (there used to not be baggage fees), you had to take tiny bottles onto airplanes, you could no longer get through airport security with a bottle filled with water, the fact that there was airport security period???? And lots of cops everywhere and everybody white became very very very pro-cop and pro-firefighter.

That’s how I remember this day and as a non-white person it’s frustrating to know this all could have been avoided if white people saw more brown people than Aladdin and Prince of Persia. I guess every year when it’s today, I wish there would just be more stuff done to bring awareness to racism and xenophobia so that no more southasians get beat up by paranoid angry violent white people, but all folks ever do is hold candles for firefighters and give podiums to survivor families.

Oh, and for 3 years after *that* day I stole as many yellow ribbon magnets off cars as I could and threw them into the trash. I knew it was a made up war, and I thought people in support of the military are terrible. Another big contributor to why I don’t like military people is because I grew up in Korea.

#rant #abolish ice #no more dhs

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