#beat the aging process subliminal

[charmedreincarnation]

Hello! How are you? I am very good for now. because after trying for over a year I switched to void state last night very easily! it was an incredibly amazing experience for me. I stumbled upon your account on tumblr a few days ago, I saw a lot of people have succeeded with the method you suggested! I felt so happy for them!

Now I will tell my own success story.

I used to be so obsessed with it that I was just procrastinating and "trying" to get into the void when I had so much work to do whenever I had free time.

Throughout this process, I always thought that I would not succeed and always went back to the beginning. I was very bad with everyone around me, I was constantly fighting and exposed to violence. In short, I was experiencing hell on this earth.

Months passed and I decided to focus on my life a little bit. I tried to think positively and convince myself how easy it was for me to manifest. But there was one very important thing that I forgot, all the evil forces in this hell were coming only on me, only me.

I spent the whole of last year and the first months of this year like a living dead...

But in these last few days, I have made a decision that will radically change my life. Before, I tried every method to enter void constantly, but something was not going well every time. So I decided that it would be easier and more useful to just assume that I woke up there, rather than making dozens of efforts to enter void 2 days ago.

THE DAY I FINALLY ENTERED THE VOID CONSCIOUSLY!

I didn't listen to the subliminal, I just did a 20-minute meditation, my wish to revisit life in more detail. At the end of the meditation, I said only one affirmation: I will wake up in void tonight.

I wasn't tired and very sleepy that night (these are usually what people think is necessary for a void).I just lay on my bed in my usual position and affirmed that I would wake up in void at night. After that I already went straight to sleep.

I woke up in the middle of the night, I didn't move. The sounds were so muffled, it's like you're listening to a song through a broken earpiece, that's how I heard it. I stayed like that for a few minutes, then the sounds suddenly stopped and I felt myself being pulled into the darkness. My heart was beating so fast, so I focused on calming myself. I couldn't feel my body anymore, as if someone was separating my soul from my body and floating it in a vacuum of space. That's when I realized that I really succeeded! And I calmed down for a while and then said my affirmations. I didn't make a special list, so I said it all one by one.

My manifests:

The face and body I dreamed of down to the smallest detail

My desired name, surname(i have two names in different languages)

My dream room and house with all the items on my Pinterest board(There were almost 50K pins on the board I mentioned...)

I overhauled my father as someone else entirely. With his nationality, zodiac sign, appearance, name.(I also added that he is a person who gets along perfectly with his 4 children and his wife!)

I made my mother younger in appearance, not in age, I also wished her a happy and peaceful life in every way.

As for our financial situation, my father is an extraordinarily wealthy businessman, we own the largest house and the most luxurious car in my city. We also have 4 modern apartments and 1 huge villa in another city! It does not end with these, we also have houses in America, France, England!

I also manifested new phone and other electronic gadgets.

We are 4 siblings in the family and we all get along very well, no hurtful words and no violence!

I have a private room for my unfinished clothes in my room and a very nice bathroom adjacent to my room!

I also manifested success in the lessons: no matter how long the paragraph is, it stays in my mind only once I read it and I never forget it! I do not have a single error in all the tests I have solved.

We have a total of 4 pets including 2 cats and a puppy and a husky dog. Our garden is huge, with a big swing, a covered area to sit in in the winter, and lots of lavender flowers, white roses!

By the way, I manifested that I have lived this life from the beginning, so our house is full of memories we have accumulated with my siblings and parents since childhood, our childhood photos everywhere, emotional diaries my mother wrote when she was pregnant.

I also manifested new friends to myself: one of them is famous (keep this part private lol), I wished to meet him since childhood. Apart from her, I also have a male friend who is our family friend and my best friend who lives with us.

That's all I wanted, I left everything else to my subconscious and my last sentence before leaving the void was "I will open my eyes to the life I dreamed of".

Finally, when I came out of the void, I heard my brother's voice, scolding me for turning off the air conditioner in my room and leaving it on until morning, and saying that he would be very upset if I got sick. (it did indeed come true more perfectly than I had imagined! )

The reason why I wrote my success story and the life I manifested at length is this: most people limit their desires and try to make do with less. Believe me, I was thinking the same way a month ago, thinking that living the life I wanted was unfair to the people in my life. But lately, thanks to what those people did to me, I realized that all this time I had been unfair to myself, not to them. After realizing this, I reminded myself that I only deserved the life of my dreams.

And now that I'm who I should be, I'm pretty happy with it. I can't thank you enough  my dear. The success stories you shared motivated me a lot and helped me take action.

I am so proud of you my love. I absolutely adore revision stories as well as the usage of intention which is my personal favorite method. No method is stronger than your will to have your desires. Thank you so much for sharing your story and I hope you continue to always live your best life <3

[bratzydollz]

"Ivanka's Grand Unveiling: Who is Ivanka? 💋✨ #IvankasReveal #IvankaHasThe411"

January 10th, 2024.

.

.

•—✧✷ Well, well, well, Upper East Shifters! The prodigal blogger has returned! Cue the applause, the confetti, and, of course, the eye rolls. Yes, my fellow shifters and followers, it's moi—Ivanka. I've been MIA for what feels like a century, and in the midst of my Instagram-worthy life drama, I've managed to gain a few followers. Not that they care, but hey, who needs a lame and basic introduction when you're living the chaotic dream?

Round of applause for my stellar disappearing act! Bravo, Ivanka. But enough about that. Let's dive into the grand reintroduction because, let's face it, you've been deprived. What can I say? Life's been a rollercoaster, with more twists and turns than a binge-(un)worthy season finale of Riverdale. But fear not, for the gossip and glam are back, and I'm about to spill the tea on yours truly. Ready or not, here comes the multidimensional Ivanka comeback!

.

.

✧ About me, Xoxo.

—✧✷ Greetings, cyber citizens! I'm your digital deity, Ivanka Beeyuh, reigning over the online realm. Real identity? Baby, that's a closely guarded secret. She/they pronouns are my melody, and proudly transcribing my existence as a fabulous transgender woman. Virgo vibes and INFP musings – at the ripe age of 19, I'm navigating the academic jungle with a major in Business Administration. Because, let's be real, who doesn't love a business-savvy queen?

Oh, and here's a little nugget of trivia to spice up the Ivanka saga—I'm rocking the Klinefelter Syndrome, making me a naturally sculpted divine doll. HRT process? A breeze, honey. Feeling blessed, and this goddess is ready to conquer the digital cosmos. Buckle up, buttercups! 🌟💻 #IvankaBeeyuh #OnlineRoyalty

—✧✷ Listen up, trendsetters and multiverse explorers! Ivanka Beeyuh, your guide through the virtual wonderland, is spilling the tea on her current obsessions. Since the mystical year of 2020, shifting has been my jam – and yes, girlies, I've successfully made the leap! Yay for alternate realities!

Now, let's talk beauty—natural vibes with a splash of bold Latina and Thai makeup, because who says you can't slay in multiple cultures? Embracing the magic of witchcraft, I'm your modern-day enchantress. Need some data entry wizardry? Count me in. And of course, strutting the cyber catwalk, because fashion is life.

But wait, there's more! Yours truly is also a subliminal sorcerer, crafting unseen spells for your subconscious. I've got a stash of creations waiting to dazzle, and when they hit the digital airwaves, you'll be the first to know. Stay tuned, my cyber comrades! 🌐💄🔮

—✧✷ Hold onto your broomsticks, spellbinders! Ivanka Beeyuh here, spilling the enchanted tea about my bewitching side. Yes, luvly, I'm not just interested in witchcraft—I am a full-fledged chaos-type witch, and I'm here to own it. No rulebook, no limitations—I dance to the rhythm of my own magical beat.

Quick disclaimer: I'm not your run-of-the-mill chaos magick witch. Let's get one thing straight – my craft is a constantly evolving masterpiece, not a cookie-cutter spell from the dusty pages of some ancient tome. Had to clear that up because, you know, some witches get their broomsticks in a twist when you mix "chaos magick" and "creating your own craft" in the same cauldron <3.

And now, a moment of worship for the Goddess of Keys and Witchcraft, the ultimate diva, Hekate. Bow down, beauties, for her cunty aura is the reason I'm a devoted follower. The slay is real, and so is my commitment to the mystical queen.

—✧✷ Picture this: the current earworms that have me spellbound include the hypnotic vibes of Melanie Martinez, the powerhouse notes of Ariana Grande, the offbeat allure of Ayesha Erotica, the soulful serenades by SZA, and the sultry sounds of Summer Walker.

Now, let me spill the real tea—I might not be the maestro of musical taste. In fact, I'm shamelessly riding the trend wave, and who can blame me? These beats are too good to resist.

.

.

•—✧✷ Alright, my curious companions, buckle up for a little rendezvous into the aesthetics of both my CR-self and DR-Self. If you're itching to unravel the layers of my vibe, swing by to the "Ivancore" page, or if you want more shifting teas, drive your Mercedes to "Ivanka's Shifting Teas" that you can access from the front page! 👀

And with that, my luvlies, behold the finale of my introduction—lovely, yet a tad messy. Here's to hoping that as you tread the path of my posts, you, my moots and followers, get to uncover the layers of Ivanka Beeyuh. For now, a temporary farewell, my luvlies. Buh-bye~

Xoxo, Ivanka. 💋🫧

back to front page —❥ 💙

[oldxport]

𝑎𝑐𝑡 𝑖. 𝑐ℎ𝑎𝑝𝑡𝑒𝑟 𝑖. (𝑑𝑖𝑠)𝑜𝑟𝑖𝑒𝑛𝑡𝑎𝑡𝑖𝑜𝑛.

[tw: references to religion, christianity]

Nothing  is  truly  archived  in  its  pristine,  maiden  state  —  photos  age,  digital  files  corrupt,  and  atom  links  corrode  one  by  one.  Painstakingly  crafted  monuments  oxidize,  the  Great  Pyramids  crumble  by  the  second,  and  the  stars  go  out. —  The  constant  of  life  is  the  beating  shore,  the  waves.  Movement,  change.  Erosion  chases    heels  like  a  mad  dog.

Even  the  mind  is  subjected.

Memory  is  the  basis  of  evolution.  How  can  one  prepare  for  a  future  if  one  does  not  remember  past  paths,  leading  to  pitfalls?  The  information  must  be  stored  to  be  retrieved  and  safely  kept  to  progress.  Hail,  progress.  The  human  brain  is  marvelous  for  processing  data  through  the  senses  and  parsing  time-space-now-then-will.

The  permanence  of  anamnesis  relies  on  factors  that  are  opposingly  conscious  yet  automatic.  Current  scientific  theories  propose  two  leading  families  of  individual  human  recollection:  the  declarative,  explicit  memory  and  the  non-declarative,  implicit  memory.  The  explicit  centers  on  the  “self,”  it  is  autobiographical,  semantic,  and  episodic,  the  epitome  of  what  humankind  thinks  memory  is.

They  merely  see  the  surface  and  guess  the  depths.

The  implicit  are  those  without  focused  consciousness,  background  tasks  in  procedural  memories,  and  subliminal  stimuli  in  priming.  The  human  mind  is  fascinatingly  efficient  and  set  on  learning.  Intake,  inhale,  install…  However,  reminiscence  is  not  a  science.  It  is  an  evocation  of  the  heart,  and  it  is  damn  awful  at  it.

To  light  the  synapse,  a  capricious  impact  has  to  stir  the  heart.  Humans  are  no  longer  concentrating  creatures  on  their  own  accord.  Intensity,  disbelief,  or  abnormality  of  circumstances  is  vital  to  categorize  memory  as  a  “notable  incident”  and  prevent  it  from  falling  through  the  cerebral  grates  and  being  discarded  as  peripheral  tedium.

The  other  way  to  preserve  time  is  to  conduct  it  as  a  ritual.  Opposite  of  the  singular  moment,  the  ritual  is  a  compilation.  By  diminishing  the  individual  days,  it  proposes  a  trade-off  to  stabilize  and  further  a  construct,  a  pattern  of  action  that  organizes  time  with  space.  It  is  mismatched  socks  worn  together  as  a  distinct  statement,  no  accident.  The  repetition  fights  off  modern  cynicism’s  iconoclastic  war  drum.

The  last  way  to  keep  recollection  is  through  auto-annihilation.  To  scar  the  inside  of  the  mind  so  thoroughly,  the  brain  cannot  overwrite  the  data.  Touch  upon  it  repeatedly;  the  echoing  sting  disembodied  of  the  time  of  the  strike.

Yet,  despite  all  of  the  methods  to  keep  vigilance  of  memory,  the  first  statement  holds.  The  lens  of  retrospection  is  smudged;  what  is  necessary  for  the  ability  to  remember  is  intrinsically  flawed  by  natural  design.  To  call  upon  memory  is  a  return  to  bear  witness  to  a  crime  scene,  and  in  its  autopsy,  the  testimony  is  never  black  and  white.  It  is  the  sentiment  branded  on  top,  warped  and  curling.

What  is  said  is  what  is  thought  to  have  been  said. REMEMBER THIS.

The  past  is  a  burn  that  lingers  but  weakens  as  the  mind  digs  through  its  kindling.  By  order  of  this  world,  memory  is  no  different  than  a  star  lightyears  away,  its  beam  dimming.  It  is  meant  to  fade.

It’s  more  than  alright  to  bask  in  the  glowing  embers  of  a  dying  planet.

Therefore,  there  is  no  reason  to  fear  un-memory.  It  is  part  of  the  forgetfulness  curve.  The  waves.  In  every  crest,  there  is  a  trough.  A  soar  ends  with  a  land.  Why  look  for  a  map  for  a  place  you  do  not  know  anymore?

A  day  lost  a  week  gone,  are  not  causes  for  alarm.  Recall  last  Tuesday  at  7:23  A.M.  Asleep,  maybe.   A  “normal”  day  is  liquid  glugging  into  the  drain.

A  man  closes  the  faucet  and  helps  himself  to  a  cup  of  water.  It  is  partly icy.  The  pipes  are  directly  pumped  from  a  frigid  spring  in  the  ███████  Mountains.  He  hopes  to  rediscover  it  again  tomorrow,  along  with  his  name.

It  is  OLD SPORT.

He  is  uncomplex  like  a  line,  that  one.  Point  A  to  B,  straight.  At  the  end  of  their  ride,  he  tells  Mr. Kato  that  he  had  no  idea  what  they  talked  about  but  wishes  the  befuddled  captain  a  good  day.  Arrives  on  the  premises,  books  a  photography  appointment  when  he’s  told  about  the  temporary  keycard  and  spreads  out  his  arms,  a  wingspan  similar  to  that  of  a  large  Pandion  or  a  smaller  Aquila,  when  security  pats  down  his  charcoal  blue  but  otherwise  nondescript  two-piece  suit.

He  enters  the  second  floor.  The  timing  couldn’t  be  more  appropriate  since  this  is  the  first  time  Old  Sport  is  not  the  first  operative  on  the  scene.  He  is  second,  the  numbering  graphically  explicit,  as  he  is  greeted  by  a  man’s  figure  at  the  end  of  the  hallway.  The  vow  Old  Sport  made  a  long  time  ago  somehow  pierces  through  the  fog’s  veil  and  shines  brighter  than  the  fluorescent  lights  overhead.  As  asked  by  the  Foundation,  he  will  devote  himself  to  it.  It’s  the  sense  of  duty,  an  ingrained  reflex  responding  to  the  new  task.

Or  is  it  the  man  behind  the  glass,  a  familiar  stranger,  who  sparked  the  guiding  beacon?  Summoned  that  lost  purpose?

If  it  was  indeed  lost.

With  or  without  amnestics,  the  mind  is  conditioned  to  adapt  to  the  unknown  or  press  on  while  in  denial.  Both  march  forward,  boots  thumping  untrodden  ground.  A  fool  smiles,  walking  into  a  place  he  does  not  know,  and  reaches  out.

Operative  —  correction:  Commander  Tiul-Xol’s  handshake  is  double-handed.  Old  Sport’s  hand  is  clasped  on  each  side, embraced.  The  Commander’s  hello  is  warm,  raining  years  of  comradery  on  the  former  agent.  Old  Sport  notices  the  disparity;  his  twenty  and  even  so  years  of  experience  is  not  up  to  par  with  this  man,  who  has  shared  bread  and  shed  blood  for  his  compatriots,  saving  the  world  from  ending  over  and  over. A fraternized secret pact to go into the dark together. How apropos that it  is  together  how  constellations  chart  the  night  sky.  Together,  together.  —  The  tender  first  fruit  who’d  break  his  own  heart  and  let  others  feast  on  its  fragments. OH, YOU ARE NOTHING.

… 

Even  a  ‘hi’  or  a  ‘good  morning’  would  do,  but  this  is  to  be  expected.

A  simple  salutation  struggles  to  form.  Like  a  dumb  little  newbie,  Old  Sport  opens  and  then  closes  his  lips.  There  is  overthinking  on  the  length  of  a  “hi,”  or  if  “hey”  is  too  casual  for  an  official  first-time  shared  assignment,  or  if  a  “Hello,  Sir,”  would  be  dismissively  professional  of  the  various  times  he  and  the  other  man  have  cursorily  orbited  one  another.  All  the  while,  the  Commander  blinks  at  him,  every  dark  batting  lash  sweeping  up  something  torrid  within  Old  Sport  than  the  tranquil  knowledge  that  the  Foundation  might  have  had  a  deliberate  hand  in  macerating  his  past.

He’s  buckling,  god,  the  crook  of  his  spine,  all  but  kowtowing.

That  is  what  happens  to  those  who  creep out  of  the  underground.  They  cannot  bear  the  light  head-on.  He’s  punched  his  ticket  into  the  Sublime,  and  the  clarity  of  his  ineptness  burns  him  up  under  its  magnifying  scope.

Thankfully,  the  Commander  laughs  and  claps  his  hands  around  Old  Sport’s.

“ It’s  good  to  see  you.  I’m  glad  the  Committee  took  my  recommendation  into  account. ”

“ Thank  you. ”

And  then  the  interaction  is  over.  Old  Sport  sits  down,  choosing  the  chair  close  to  the  door.  His  eyes,  which  have  never  strayed  from  his  clasped  hands  on  his  lap,  slowly  trace  the  curved  contour  of  the  table.  The  stare  stops  on  a  pair  of  worn  combat  boots,  no  polished  dress  shoes.

Their  owner’s  face  is  creased,  loose  with  tiredness,  and  open,  vulnerable  like  a  split  pomegranate.  Old  Sport  doesn’t  know  if  he’s  authorized  to  be  a  witness.  A  yawn  scrunches  the  center  of  the  Commander’s  face,  prominent  on  his  heavy  brows  and  strong-bridged  nose.  He  wipes  at  his  eyes,  and  as  Old  Sport  begins  to  rise  to  action,  the  Commander  waves  it  off.

But  no,  that  won’t  do.  Old  Sport  searches  the  inner  pocket  of  his  suit  jacket,  preparing  a  remedy  in  advance  as  always.  It’s  to  be  another  score  on  his  perfect  record;  he  digs  through  the  void  and  discovers  nothing  there.  He  has  forgotten  his  handkerchief.  The  chill  from  the  water,  now  swirling  inside  him,  permeates  throughout  his  system  at  this  small  but  surprisingly  heavy  failure.

Do  not  fear  un-memory.  Surf  on  the  forgetfulness  curve.  Shoot  the  tube.

Someone  else  enters  before  he  can  request  his  leave  to  fetch  the  Commander  a  tissue.  Therefore,  Old  Sport  stays  put  and  assembles  his  belongings  from  his  briefcase.  It  is  one  thing  to  watch  a  man  be  unguarded,  another  to  signal  others  to  look.  While  Old  Sport  cannot  help  the  man,  he  can  at  least  sanctify  the  Commander’s  authority.  The  room  fills  up.  Old  Sport’s  thoughts  wander  to  the  First  Disciple.

It  is  not  Peter.  It  is  Andrew.

Befitting.  Nobody  remembers  Andrew.

It  doesn’t  take  very  long  for  introductions  to  go  around  the  table.  Throughout  it  all,  Old  Sport  barely  stirs.  He  smiles  through  it,  raising  a  brow  at  Dying  Breed’s  self-appointed  break,  but  overall,  it  has  been  an  illuminating  experience.  The  Decommissioning  Department  and  MTF  Iota-10  have  never  held  formal  team  introductions.  A  matter  of  size,  schedule,  and  if  the  rumors  were  correct,  egos  made  this  an  impossible  undertaking  by  the  Fire  Suppression  Department.  This  is  Old  Sport’s  first  time,  and  finally,  his  chance  arrives.  Old  Sport  grins,  stands  up,  and  bows  as  the  focus  swings  to  him  at  the  end  of  the  table.

“ Hello  and  good  morning,  everyone.  Regardless  of  whether  or  not  this  is  the  first  time  we  are  meeting,  I  would  request  that  you  all  please  refer  to  me  by  the  appointed  codename-slash-callsign,  'Old  Sport,'  as  it  is  one  of  the  precepts  of  Chi-Zero-Zero. ”  He  says,  righting  himself  back  up.

“ As  everyone  else  has  shared  some  personal  information  and  or  humorous  anecdotes,  I  will  also  release  useful  background  facts  about  myself.  I  have  been  with  the  Foundation  for  twenty-four  years.  Previously,  I  was  a  member  of  the  Decommissioning  Department,  as  well  as  the  Mobile  Task  Force,  Iota-10,  known  as  the  ‘Damn  Feds,’  officially  and  unofficially. ”  Old  Sport  figures  disclosing  his  experience  would  be  helpful  to  the  junior  members  of  Themis.  Now,  the  mind  whirrs  for  the  next  move.

“ I  have  a  multitude  of  hobbies  and  like  various  things.  Additionally,  I  have  very  few  dislikes.  I  look  forward  to  working  with  everyone  until  the  very  end  of  this  assignment  or  until  reassignments.  Thank  you. ”

He  sits  down,  pleased  to  have  hit  all  the  notes  he  practiced  in  the  shower.  As  he  is  the  closing  act,  Old  Sport  decides  to  utilize  the  chaos  of  a  post-meeting  exit  rush  to  speak  with  the  Commander.  In  some  parts,  it  is  to  repent  the  previous,  unsubstantiated  “mission  failure.”  In  others…  esoterica,  meaningless  to  everyone.  Rather  than  calling  the  Commander  over,  Old  Sport  spots  his  window  of  opportunity,  gleaming  and  wiped  clean,  and  moves.  Forward,  forward.

Catching  Smooth  Operator’s  attention,  Old  Sport  slides  his  arm  frontward  to  initiate  a  handshake  —  snatching  the  other  man  with  a  two-handed  clap.  It  is  a  mirror  of  the  past,  a  reflection  of  Smooth  Operator’s  candid  warmth.

Imitation,  flattery.  Prayer.

Albeit  enveloping  the  Commander’s  hands  with  longer  digits,  Old  Sport  swings  their  hands  up  and  down,  body  saying  what  he  couldn’t  before.  Hello,  hello.  He  won’t  waste  his  time  now.  “ Commander,  it  has  been  nice  to  see  you  again.  It’s  been  two  years,  eight  months,  and  to  my  knowledge,  three  days, ”  Old  Sport  muses  and  tilts  his  head.  Pauses.  Tests  out  the  words  sans  shower.  “ It is an honor  to have been selected. I will be  dedicated  to  serving  you,  on  and  off  the  field. ”

Old Sport  leans  forward,  stamping a  grave  promise in the air  between  their  intertwined  limbs. Each word is pressed in like a personal cinnabarite seal.  “ Upholding  the  parameters  of  this  assignment  is  my  highest  priority.  Therefore... However,  whenever  you  need,  my  body  is  yours  to  command. ” 

He’s  felt  this  way  for  every  job  given  to  him  by  the  Foundation.  The  corporeal  is  nothing  without  purpose.  If  his  back  breaks,  it’ll  be  with  pride  at  fulfilling  something  grander  than  a  single  skeletal  remnant.

“ I  do  not  know  if  you  have  accessed  my  personnel  files  yet,  Commander,  but  I  will  strive  for  nothing  but  success  to  the  best  of  my  ability.  I  will  fill  any  position  you  require  of  me  without  complaint.  I  have  been  told  I  am  quote,  ‘accommodatingly  versatile,’  and,  ‘surprisingly  flexible,’  end  quote. ” 

As  he  is  saying  them,  no  boastful  flourish  curlicues  the  para-phrases.  Such  comments  never  particularly  mattered  to  Old  Sport.  However,  to  recompense  the  earlier  mistake,  he’ll  assure  Smooth  Operator  that  it  was  a  fluke; he has  verifiable testimonials.

Old  Sport  smiles  and  leans  in  again,  unaware  of  the  lack  of  privacy  in  a  crowded  conference  room.  He  closes  with,  “ I  fondly  anticipate  working  out  the  details  of  this  arrangement  after  introductions  and  the  facility  tour.  I’d  like  your  pager  number  to  find  a  suitable  time  and  place. ”  There  is  a  soft  squeeze  between  their  hands  after  one  last  downswing.

Finally,  the  lattice  breaks.  Old  Sport  concludes  with  a  nod  and  returns  to  his  spot.  He  picks  up  his  briefcase.  As  asked  by  the  Foundation,  he  will  devote  himself  to  it.  It’s  the  sense  of  duty,  an  ingrained  reflex  responding  to  the  new  task.  Support  the  MTF  Commander  at  all  costs.  Forget  your  record.  It  means  nothing.  You  are  nothing.  Support  the  MTF  Commander  at  all  costs.  Nod,  if  you  understand,  In-su. The scales ...

A Valuable Employee  does  not  think  of  themselves  as  individuals  but  as  a unit  member.  The  workplace  is  family.  The  company  is  covenant.

Nobody  remembers  Andrew.

Old  Sport  nods  and  wonders  where  he  left  his  handkerchief.

[catherineslifeblog]

Hey beauties? I hope everyone's doing well on this beautiful Thursday? Tell me in the comments below i would love to her from you! If you are interested in monat i would love to help you and lead you into your greatest hair and skin care! Just last message me on any of my social media platforms.

[sweetreena]

I found this https://youtu.be/zNTyca-rv1M The post Beat the Aging Process Subliminal appeared first on My IM Place SYNDICATOR. from https://syndicator.myimplace.com/beat-the-aging-process-subliminal/ right here: https://hipernicevideos.blogspot.com/2020/08/beat-aging-process-subliminal.html

[uberclanger]

https://youtu.be/zNTyca-rv1M The post Beat the Aging Process Subliminal appeared first on My IM Place SYNDICATOR. Beat the Aging Process Subliminal via https://syndicator.myimplace.com/beat-the-aging-process-subliminal/ approved by https://www.google.com

[kara-patili-kedi]

" https://youtu.be/zNTyca-rv1M The post Beat the Aging Process Subliminal appeared first on My IM Place SYNDICATOR. " https://yourtubespro.blogspot.com/2020/08/beat-aging-process-subliminal.html

[holographickid]

Beat the Aging Process Subliminal reposting… by... original: https://c0l0rme1d.tumblr.com/post/625997198432305152

[dollstravel]

Beat the Aging Process Subliminal reposting… by... my source: https://c0l0rme1d.tumblr.com/post/625997198432305152

[harrypottergeneration1234]

Beat the Aging Process Subliminal reposting... from here: https://camelleiks.tumblr.com/post/625994872047927296

[mimipagemusic]

An open letter to Lorin Ashton (Bassnectar) from Mimi Page:  A call for true accountability, responsibility, and healing action on behalf of the music industry.

Dear Lorin,

You have willingly and openly invited healing on your part with anyone you have hurt in your past. While I am aware you are calling every past sexual partner you’ve had, you haven’t bothered to consider the trauma your actions have caused to your female colleagues. You haven’t reached out to me once. I am taking this opportunity to respond to your offer of healing by “calling you in” in this open letter. I am a relatively private person and would have preferred to call you and read my letter to you directly. The truth is, I don’t trust you. You have claimed to care about the healing of those you’ve harmed, but the recordings released prove that you manipulate and gaslight whoever confronts you. I  privately confronted you about “Butterfly” back in 2016, so I’ve directly experienced your manipulative behavior. Because you have harmed so many people in your personal and professional life, my hope is that this open letter will bring forth clarity and healing to anyone who reads it. Healing to me, to you, to the young women you have sexually and emotionally abused, to the creative collaborators you have taken advantage of creatively and financially, to the professional team members you’ve betrayed and let down, and to the dedicated fan base you’ve mislead and abandoned.

While I am processing my own feelings of anger, confusion, and disgust, I am also writing you from a place of love. Tough love, that stands for healing, integrity, and transformative justice. Principles you claimed to stand for as a leader in the music industry. This situation is devastating on so many levels because you’ve also created a lot of good in this world. You have inspired millions of people and played a pivotal role in our culture. You’ve provided a platform for so many independent artists to be heard, myself included. I am forever grateful to you for that. But with the platform you helped me build, I am now speaking out on it. My hope is that deep inside your soul, you can listen, learn, and take accountability with an open heart. My own heart is broken, but it is also open. So with this open letter, I will address the evidence of both your “romantic” victims and my own negative experience with you, from my own perspective. If you can take true accountability and healing action with our best interests in mind instead of your own, then I believe you can still be a catalyst for the true change and healing we need in not only the music industry, but in our world. 

My personal reasons for coming forward:

In response to your sexual abuse allegations, you have publicly denied “the rumors” yet claim to welcome responsibility and accountability. You have admitted to the possibility of hurting others, yet you have not clarified what pain you have actually caused. You have claimed your own romantic relationships were “positive, consensual, legal, and loving.” You have claimed you are an “ally of women” offering free therapy to “true survivors of sexual abuse.” As an action, you have chosen to step away from your musical career and abandon your non-profit organization without further clarity or closure with all of us. As a survivor of childhood sexual abuse at ages 5, 13, and 16, I have lived with the PTSD that comes with experiencing both Pedophilia and Ephebophilia. I have spent many years in therapy unpacking my own trauma, healing it, and learning what true sexual health is. As a “true survivor” responding to your statement, you have absolutely no right to define what a “true survivor” is. To do so gaslights the women coming forward about the abuse you inflicted, and manipulates the public into doubting their truth. This creates victim shaming and I won’t stand for that. 

The legal definition of a child is ages 0-17. Rachel was 17 when you groomed and pursued your sexual relationship with her. The definition of Ephebophilia is an adult who is sexually attracted to adolescents between the ages of 15-19. Ephebophilia is not a sexual preference, it is a sexual perversion. While the argument stands that some teenagers welcome a relationship with an adult partner, many survivors realize they were psychologically damaged by that relationship once they mature in their mid 20s. Clarity and healing takes time, I speak from experience. There’s a reason that by law, teenagers are still considered children. While it’s completely healthy for teenagers to date other teenagers, they have no business being sexually groomed and manipulated by adults, especially those with power and influence. Ephebophilia has been glamorized and normalized in the music industry for generations and it needs to finally change. Countless rockstars like you have gotten away with this illegal and psychologically damaging activity with their underage fans. Many of them are still massively successful to this day. As an artist who has built your brand and activism on the principles of compassion, equality, and integrity, why are you grooming and dating your teenage fans? According to your victim Lauren’s statement, you explained why you don’t date women your own age. You told her you aren’t interested in older women because “they have too much baggage.” Lorin, it is men like you that create this “baggage” for women. And because of this, perhaps it is you who actually needs the therapy you are offering your victims. There is something very wrong with the way you view and interact with our world.

As a female artist and collaborator of yours for over 8 years, I wish I could speak up in defense of your character and your treatment of women through the reflection of own relationship and your treatment of me. I can not do this. While I hate seeing your career destroyed, I can’t help but honor the karma. I have carried your baggage for far too long. You have leveraged your power and your fame over me during every creative negotiation we have ever had. Always manipulating me into taking less of a writing percentage than my actual creative contribution because you claimed your platform, “the bassnectar factor” as you called it, would benefit me as a “smaller artist.” You hid behind a public mask of humility and activism when in private you lead with entitlement and greed. As a collaborator of yours, I am also a survivor of you. Not of your sexual abuse, but your psychological manipulation and financial abuse. You have taken advantage of my vulnerability and creativity since I was in my early 20s. You used your charm to manipulate me into thinking you cared about me while you stole my creative credit and royalties. You used your fame and influence to manipulate me into feeling grateful for the benefits I did receive from working with you, gaslighting my own reality and pain. You strategically belittled me creatively and financially in order to assert your dominance and control in ways where I was brainwashed into continuing to work with you. You have said some incredibly inappropriate and hurtful things to me over the years which negatively affected my self esteem to the degree that I almost quit music. Like so many others, I put you on a pedestal and looked up to you before I experienced your darkness. Even when I experienced your darkness, it was like I was under a spell. I have been conflicted for years and your name has been brought up in my own therapy sessions many times. You are a master manipulator, and I believe that is your greatest talent. In light of these allegations from both your victims and collaborators, so much becomes clear. The spell you cast not only on me, but the world, has been broken.

Your undeniable abuse towards women:

The evidence and statements being released by women who you say have been your “consensual, legal, and loving partners” provides contrary evidence to the innocence you claimed in your public statement. In an audio recording with Rachel, you verbally admit to her statutory rape when she was 17. She explains to you that at age 17, she “had no idea who she was.” She expressed that she was impressionable and that a relationship with someone your age with such an extreme power dynamic was beyond inappropriate for her. You validate this by agreeing with her and regretting your actions. You then offer to take accountability directly with her, but ask if that accountability means being “raped and beat up in a Tennessee jail.” This type of response to someone you’ve harmed is not called accountability, Lorin. This response is called gaslighting and manipulation, and it is equally abusive. It subliminally asks your victim to doubt the severity of her own experience and put your well being above her own.

In an email correspondence that Rachel shared during her senior year in high school, you congratulate her good grades on a school paper. You then request she spend 4-5 hours writing you an essay for your own pleasure. In a second email, you admit “she is overloaded with school work” but confess you are “so curious about what goes on outside of school in her social life.” You then tell her she “so rarely reaches out” and you “want to hear her voice.” Rachel wasn’t a groupie who pursued you as so many of your defenders claim. You groomed, pursued, and manipulated her. This isn’t the behavior of a mentor, a teacher, or a caring friend. You were an adult celebrity taking advantage of your teenage fan. This is called predatory behavior. You were a grown man in your mid 30s who chose to groom and sleep with an underage teenager, knowing full well how old she was at the time. In seeking the truth for myself, I spoke at great lengths with Rachel over the phone and heard her entire story. I also spoke to Lauren and have heard hers. While I was disgusted by the trauma you inflicted on these women, I was equally inspired by their grace, wisdom, and bravery to stand up to you. 

Rachel (age 17), Lauren (age 21), and another young woman have claimed you put thousands of dollars in cash in their purses and backpacks after their sexual encounters with you. They all have clarified that they did not ask for this money, were surprised and confused by it, and had to hide it from their parents and friends as they were sworn to secrecy by you. According to them, you were paranoid and made them communicate with you through encrypted apps so that your communication was hidden. In Lauren’s public statement, she claims she was “sexually groomed and manipulated” by you as your fan. According to her story, she was hand selected via Instagram and won a meet and greet with you. After thanking you on Twitter, you provided her your private email and asked her to continue communicating with you. When telling you her age, you said you were “surprised” because she “looked younger than 21.” You then requested she travel alone to visit your home. When telling you she wanted to inform her parents so they knew where she was, your response was that her parents “had no business knowing the details of her personal life”. If she was to inform them of her travel, she was to lie about your identity and say she was “dating a teacher named Gabe.” While demanding her sexual exclusivity with you, you refused to be sexually exclusive with her. You also requested she consider you a “life coach” as you would help guide some of her “biggest decisions.” Some of your advice included informing her that “every man she would ever meet would only want to have sex with her and would do anything to get it.” You offered to “protect her” from this. This is not a loving relationship Lorin, this is a manipulative, controlling, and psychologically abusive relationship. There are many other women you have harmed who have privately come forward but are too afraid to publicly share their stories. Several of them have stated that they were under the age of 18 when they had sexual relations with you. The amount of young women you’ve harmed is mind blowing, and they are all your “true victims.” In order to take true accountability, you have to be willing to own up to your actions and take legal responsibility for what you have actually done. 

Our professional relationship:

I’ve spent the past few days going through my own emails and memories with you, trying to find clarity and understanding of who you really are and how you could have harmed so many people in the ways that you have. While going back to my early correspondence with you, I was disturbed to find the same style of inappropriate communication with me. Our relationship has always remained professional and I’ve considered you more of a dysfunctional “big brother” type throughout the years. An email you sent me back in 2012 reminded me that this wasn’t always the case. I had completely blocked out this email because it made me feel so uncomfortable at the time. I now remember that I chose to shelve this away in my psyche because I was conflicted with how excited I was to get the chance to work with you.

(Email Context: I had just sent you my vocal hook for our song “Butterfly")

As a female artist who has endured the gender inequality in this industry, I am used to putting my head down and tolerating inappropriate jokes and conversations with men as long as it never escalated to a place where I felt unsafe. Fortunately our collaboration was remote, and I was in the safety of my own home studio when I read this. Your email response to my creativity was not only disrespectful, it was completely inappropriate.  It’s alarming you felt entitled to speak to me in this way, being that I was a professional collaborator and I barely knew you at the time. I responded to your email with a “haha thank you” but I wasn’t laughing. I was extremely uncomfortable and afraid to tell you how I felt because of your power and celebrity. I wanted to work with you and was afraid I would jeopardize that so I put the opportunity to work with you above my own comfort. I regret doing this. I am only sharing this email now as it corroborates the evidence of your language and inappropriate communication with the other women who have come forward and shared their own email correspondence with you. They are being attacked and doubted for sharing their truth, and I won’t stand for that. I’ve spent the majority of my time these past few weeks processing this horrific situation. I’ve had a lot of tears and a lot of sleepless nights, as I know so many others have. In the process, I had an epiphany. Your email of wanting to “fuck my voice” was actually a metaphor, foreshadowing our future dynamic as collaborators. You did end up “fucking my voice,” not as an artist but as a human being. While my voice in our collaborations soared throughout stadiums and radio stations around the world, my actual voice was silenced. 

In 2012 when we negotiated our splits for “Butterfly”, you manipulated me into believing that music didn’t make money anymore because of music piracy. As a young artist that was new to the industry, you told me that touring was the main source of income for artists, and buying me out of 100% of my share of the master royalties of “Butterfly” would be in my best interest. I spent 3 months alone in my apartment writing and creating “Butterfly” for you. Your offer was to pay me $1,000 for each month I worked on the song. You convinced me that because music didn’t make money, "Butterfly” may make nothing. A $3,000 buyout would ensure that I would be protected and taken care of financially. I had requested an equal split of the writing and publishing of “Butterfly” because I had clearly created the majority of the song. You took that opportunity to lecture me on what “equal” actually was working with an artist of your caliber. That because of your administrative fees and expenses due to your platform, a 50/50 split of writing and publishing wasn’t fair to you. Regardless of my creative contribution, 33% was the number I actually deserved. As the main composer and co-producer of our song, you knew I wrote and created the majority of the creative content in “Butterfly.” Not only did I write and perform the vocals and piano, I composed, produced, and sound-designed the synths and ethereal pads. You never gave me credit for this. Not in the liner notes, and not in the press. You took full credit of the production of our song, allowing me to be viewed as a vocal feature with a piano performance. When your album Vava Voom came out, I saw that every male producer who collaborated with you had an “and” producer credit. I was young and naive at the time, I didn’t know what a producer credit was and you knew this. As a self-proclaimed feminist and someone promising to protect me in this industry, you knew better. You should have done better.

Watching our song "Butterfly” find it’s wings was a dream, but also a complete nightmare. It became the staple of your live show, to the degree that Butterfly confetti fell from the sky. I had fans tattoo butterflies and my song lyrics on their bodies. “Butterfly” was ranked the #4 best song of your entire catalog by Billboard. It was in rotation in terrestrial and satellite radio, licensed to network TV shows, films and video games, and was even featured in an art instillation at the Disney museum. While I did get my 33% cut of my writing and publishing, I watched you absorb 100% of every sale and stream. I saw how many sales “Butterfly” sold in the mechanical royalty statements from Amorphous Music, your own record label. That small $3,000 “buyout” you gave me under the pretense you were “helping me” covered 2 months of my rent. Had you given me an equal share of my writing and publishing and literally any percentage of the master royalty of “Butterfly”, it would have drastically changed my life. Had you given me the creative credit I deserved on our song, doors would have been a lot easier for me to open as a female producer and composer in this male dominated industry. I continued to work with you over the years because I was brainwashed into believing this was how the music industry worked. I was brainwashed into feeling “grateful” for the opportunities I received and the success I did generate from your platform. I convinced myself that I was less than you, and I had to pay my dues like everyone else in order to earn my worth as your creative equal. This equality never came. While I continued to fight for a small share of my writing and publishing on every song we did, you still refused to offer me a percentage of the master royalty. To this day you still collect 100% of the master royalties on every one of our collaborations. 

I tried justifying our creative dynamic by your invitations to perform live with you. While it was only 3 times, those performances were, and will forever be, some of the most beautiful and magical moments of my life. What was odd to me was the way you financially treated me when I performed live with you. At Lighting in a Bottle I performed for free and got changed in a port-o-potty. After my performance you thanked me and handed me a bottle of wine as compensation. At Red Rocks and Bridgestone Arena you offered me $1,000 as an appearance fee. A fee that I had to deduct the airfare of my manager, my wardrobe, and all my food and traveling expenses from. I’m not sure how much income you take home after each one of your sold-out stadium shows, but I’m sure you could have afforded to treat me a little better. At the end of the day, I actually ended up paying out of my own pocket to perform with you. With what’s come to light, I now understand that you’ve had huge expenses paying out thousands of dollars to these young women, several underage, with the hopes of buying their silence and loyalty. As your female collaborator, I can verify that you are no feminist. You are a hypocrite, and the way you have treated me as an artist is absolutely disgusting.

In 2016 I was unaware of the extent of your corruption behind the scenes, but I found the courage to confront you about my own situation. I texted you that I was uncomfortable about our business dynamic with “Butterfly” and we hopped on a call to discuss it. We had a long conversation about my feelings, and you validated my belief that you were wrong and that you should have given me producer credit. You agreed that my deal wasn’t fair and said that you wanted to make it up to me. While I was grateful for this, the end of our conversation ended up haunting me for years. When talking about “fairness,” you lectured me on the difference between us as artists. You told me that if I were to release a song of ours by myself, that it wouldn’t sell nearly as many copies as it would if you released it. That your “Bassnectar factor” was the  reason for the success of Butterfly, not the creative content of the song. I agreed that you clearly had the bigger platform, but argued that my creative contribution to your art not only rewarded you financially, it helped define your brand in a new way. That the majority of your music is intense and aggressive, and my feminine, ethereal, and peaceful aesthetic helped diversify your musical catalog. I opened up and told you that if you had treated me equally and hadn’t taken 100% of my master royalty, my life would look very different because of the success of our song. That I have bills to pay just like any other person, and that my husband also battles multiple sclerosis which is a hardship we privately face. Your response to me was cold, and cruel. You told me that the music business is really hard. That many of your friends are extremely talented like me, and that you tell them all the same thing. That if it’s too hard for me to keep going financially in this business, that I pursue music as a hobby and find something else for work. Even so, you would find a way to make “Butterfly” up to me. You would get with your team and figure out a way to make me “happy.” Lorin, I can’t tell you how painful this conversation was, it crushed my soul. Writing one of my favorite songs with you and watching it receive commercial success while you took 100% of my royalties was one trauma. Seeing my worth through your eyes was another, it damaged my self-esteem. For a while, I did contemplate quitting music. If it weren’t for the love and support of my family, friends, fanbase, and my own inner work in therapy, I probably would have quit music. 

A week later you got back to me after discussing my request with your team. You indicated that you couldn’t renegotiate the terms of Butterfly, that the deal of that song was over and done with. What you did offer was a deal for a new song. This song would be credited as “Bassnectar and Mimi Page” so I would receive a producer credit. I would also receive 25% of my royalties across the board. I asked you why I wouldn’t receive 50% if I actually write an equal share, or even 33% like you offered me in Butterfly. You refused to negotiate and stated that’s the offer that was on the table. You then sweetened the deal by offering me an advance of $10,000 of this song, with no deadline to create it. At the time I not only needed the money, I foolishly believed that you actually wanted to create another song with me. Over the past 5 years I’ve sent you so many creative ideas for this song, and your response to me has always been the same. You were “too busy" to work with me. The only song we created together since then was “Was Will Be,” a last minute topline request with another small publishing cut and no master royalty. As always, this collaboration was attached with more empty promises to write our “actual song” with no followthrough. With what’s come to light in the accusations against you, it’s alarming to see where so much of your time has actually gone. Like your female victims, I can’t help but look at that $10k you gave me as hush money for my own silence against the issues I confronted you with. Watching other legal cases appear by other artists over the years brought me a lot of clarity on how you’ve been taking advantage of not only me, but other artists this entire time. I never spoke out publicly about my dynamic with you because I valued the peace and healing of the fans who enjoyed our collaborations. Now that you have destroyed not only your reputation but the trust and peace of your community, I am choosing to share my story now. Not just on behalf of me, but all the artists you have taken advantage of and ripped off throughout your career. There are so many.

After speaking with several of your victims, I’ve been horrified to learn that “Butterfly” was the song that lead many of them to the actual discovery of you as an artist. That the beautiful and euphoric qualities of “Butterfly” didn’t only function as a catalyst for peace and healing like I intended. Many of these women were mislead into believing those gentle, peaceful, and ethereal vibrations actually came from you because you took full credit for the song. My most grotesque epiphany of all, is that you never did care about me or actually value my talent and wellbeing as an artist. Instead, you used my artistry as bait for the facade you projected to the world, ultimately luring more young women to you. As a survivor of sexual abuse, music has always been my saving grace and escape from the horrors of my own reality. I can’t tell you how traumatizing it is for me to be associated with you after realizing what you’ve done. I am deeply disturbed and depressed in regards to our creative relationship. I am grateful that our songs have brought peace and healing to so many, and I will forever stand by the love and light that I personally contributed to it. I won’t let you take that away from me. Had you lived your life with the actual care and integrity that you claimed to lead with, we could have created so many more beautiful songs together. Instead, you chose the darker path and in the process, took advantage of my talent, my time, and my respect for you. 

Our last and final collaboration was on your new album “All Colors,” and this was the final straw for me ever working with you again. During a pandemic that is killing people, destroying our economy, and shutting down our industry, you sent me an email “checking in”. Like always, your emails have tons of smiley faces indicating you “love me.” You reminded me that we “still need to do our song” but asked for a “little favor” on your new album. You wanted me to replace a vocal sample of another girl singing “dreaming of you.” No writing, no harmonies, no creative contribution, not even the consideration of me knowing what I was contributing to as you wouldn’t let me listen to the song. Just “a little favor” of singing and recording for you, for free. I almost said no, and I wish I had. The only reason I didn’t, was because you had just offered me a spot to perform my own acoustic set on the main stage at your festival Deja Voom. A gesture that shocked me and actually meant a lot to me. After years of you blowing me off creatively and taking advantage of me financially, that was a gesture that felt like it validated my worth to you. I will humbly admit that deep down, I have always wanted you to care about my art and creativity. So, like always, I did the mental gymnastics in my head and justified the reasons why I should do your little favor and I did it. I did it against the wishes of my own manager and attorney, that’s how strong your influence has been over me. After I sent you my vocal file, I also took the opportunity to tell you that we experienced a food shortage during this pandemic and I learned how to garden in hopes that I could feed not only myself, but my neighbors. This must have struck a chord, because you changed your mind about asking me for free work and you sent me this email:

It’s almost August and I’ve yet to receive your $250 for pumpkin seeds. In regards to my creative contribution on your new album, I found my vocal sample on the end track you called “Optimism.” I wasn’t credited as a featured vocalist, and I checked the liner notes and there was no reference that I even sang on the song. After 8 years of working together, you didn’t even give me a shoutout on social media, telling our mutual fans about my contribution being that they loved our past collaborations so much. After all these years, and the massive amount of income you have earned off the back of my own creativity, this is what you have reduced my talent to. During the horrific times we are living in, your expectation of an independent artist giving you free work is absolutely despicable, and $250 for pumpkin seeds is ridiculous. It is clear the amount of healing I have needed to do in regards to reclaiming my self esteem. I am saddened by the dynamic I allowed myself to participate in with you for so many years. I have been battling a lot of shame for this. Thanks to several of your colleagues who have experienced similar dynamics with you, I have found a lot of healing. I am saddened to see this is a trend with so many of your collaborators, but I’m also grateful to be in their company as we all try to find the light in this darkness. I am now shifting my perspective and looking at all of us as hard workers who believed in the original vision you claimed to have for humanity. We took your creative and financial abuse because we are all  trying to survive in this dark and difficult industry and shine our light within it. One day I hope the industry changes, and hopefully this entire situation will be a catalyst for it in some sort of way. 

It is painful, but also healing to write this letter to you. I feel like a giant weight is being lifted from my soul. It is healing to see corruption being outed on a mass scale in our society, and ironic that you were one of those activists that spent so much time outing that corruption. For years you’ve used Twitter as a platform to call out the corruption of political leaders. Now that you are the subject of your own corruption, you’ve gone silent and disappeared. I will remind you we are experiencing a pandemic and the state of the world is in a very dark and fragile place. Your fans no longer have a safe space to turn to and this hurts their mental health. A lot of your fans are getting bullied for following you, having your tattoos, and being a part of your community. While you take your millions and “go off the grid” I won’t stand for your hypocrisy. I have received over a hundred emails from fans expressing their own private traumas and being survivors of sexual abuse themselves. How damaging it has been to discover they have been mislead by you all these years. You have accumulated your wealth and lifestyle from the money and dedicated support of your fanbase. You have built the diversity of your brand off the backs of collaborators like me, Dylan, and so many others. You owe us way more than an apology. The time you have spent manipulating and abusing your teenage fans could have been better spent creating with the artists who have contributed so much to you and your community. How you’ve treated Dylan (ill-Gates), an artist who inspired and nurtured your own talent, is utterly repulsive. The sad reality is, your behavior isn’t just a reflection of the darkness within your own psyche, it’s a reflection of the power-hungry, abusive, and narcissistic behavior in the music industry. We need a deep healing and change in perception with the ways business is run inside the music industry. We need a safer space for artists to create and fans to experience our art. Music is sacred, it brings healing and unity to our world. We need to make an example of the mess you have created and transmute it for positive change.

As you walk away from your musical career, you also walk away with not only my royalties, but all your collaborators royalties as your future financial stream. I wouldn’t label your career cancellation as “unemployment,” I would label any future income as theft from those of us you collect from. As a collaborator of multiple songs, the only control I have to help save the integrity of my songs and heal this community is a promise to donate my own small writing and publishing percentages to non-profits that support sexual abuse survivors. After learning that you have spent thousands of dollars to silence your own victims, you need to rectify this behavior with all of us. You manipulated our bad business deals by using your fame to convince us the “exposure” we would receive would benefit us. While it did in the past, it is now traumatizing us. As a survivor of sexual abuse and an actual ally of women, I find it unacceptable for you to have committed criminal behavior with my royalties being a source of your income. I don’t find it acceptable that you continue generating any future income from my creativity moving forward. I want my royalties back and I want to use my royalties for goodness. I’d love to partner with a non-profit or even start my own with the royalties you’ve taken from me and will continue to take from me. I’d love to incorporate your past collaborators, ambassadors, and fans in whatever healing endeavors I pursue from these royalties. My goal would be to focus on sound healing and meditation for survivors of sexual abuse and use the symbol of the Butterfly as the emblem. This would redefine my song and represent that we actually transformed some of this darkness into beauty. This is one idea I have of how you can take accountability and healing action directly with me, on behalf of everyone in your community.

The abusive dynamics in the music industry have existed for far too long, we can use this experience to help stop it. While you were a part of this problem, I hold space for your healing and redemption. You can take true accountability for your actions and use this experience as a catalyst for massive change. The only way we can create actual change in this world is by living by example and being the change we need to see. Lorin, please step up. Stand in your integrity and take true responsibility and accountability for your actions no matter what the cost to you. At the times you caused harm to others, you didn’t consider the cost to them. Own up now to what you did, publicly admit it, and take the healing actions required to make true amends. Use your wealth and platform for the goodness you originally intended, it’s not too late.

                        Sincerely,

                                Mimi Page

[moutamadriss]

7 Beauty Tips for Looking Younger

Ever since Eve took that first bite of the apple, the human race has been obessed with beauty.

The truth is we begin the aging process just as soon as we pop out of the womb. Every day of our lives our bodies slough off and regenerate new cells. The speed at which that process takes place when we are children is vastly different as we get older.

Every day you are bombarded daily with commercial messages and beauty tips that attempt to lure you into believing that the most recent miracle drug is just what you need to fight off the ravages of Mother Nature.

We are living longer as a whole. Singularly, that can be a curse or a blessing, depending on your perspective. The best route to natural beauty and healthy skin is to take care of what you have. Sounds simple, doesn’t it? The truth is that your skin takes a beating from the environment every single day. Here are some of our favorite beauty tips for keeping your skin fresh and healthy:

1: Stay hydrated and do it with plenty of water! That does not mean soda, caffeine or any other type of liquid, even if it is low cal. Soda (even diet soda) has a high concentration of sodium. Sodium retains fluids. You need fluid that will hydrate and flush your body free of toxins. Make sure you are drinking at least 8 glasses a day!

2: Protect your skin from harmful ultra violet (UV) rays. We all love the sun. We love being in it and we love having a beautiful tan. The truth is you can poison yourself with too much sunshine. UV rays cause skin cancer and if that isn’t bad enough it causes your skin to age faster than it should, contributing to unsightly wrinkles. If you must play in the sun, make certain you are using an adequate sun screen. Don’t leave home without it!

3: Keep your skin clean. Use a soft warm cloth. Skin does not require scrubbing. You will do more harm than good if you do.

4: The best cure for wrinkles is to never have them in the first place! If you are like most of us, you didn’t listen to your Mom when she tried to tell you to stay in the shade, stand up straight and stop squinting!

5: Eat healthy. Knowing how and what to eat, can make a huge difference in how you feel. Improper eating habits can cause depression, weight gain, illness and an overall lethargy.

Weight gain causes your skin to stretch. As you get older, it loses it's elasticity and you're left with sagging skin. The best solution to this is to maintain a proper weight.

A rule of thumb for eating habits are...don't eat more calories than you consume. Don't go one single day without doing something extra and physical for at least 30 minutes per day. This can be three ten minute walks. Or 30 minutes of vigorous aerobics, or 12 minutes of weight lifting and 18 minutes of walking.

6: Don't worry, be happy. A happy outlook appears to trigger the release of endorphins. Endorphins relax the cardiovascular system and cytokines which alert the immune system to pay attention in detecting abnormalities like cancer cells. Listen carefully to yourself. If you have put yourself down since childhood, over a lifetime, negative subliminal messages can take their toll by turning you into a pessimist. Spend one week writing down the phrases you use in your “self talk.” Chances are you will find that you repeat a dozen or so phrases over and over again that reinforce that negative image. If you know about them, you can change them. Outer beauty and inner joy go hand in hand.

Here are a few quick tips for increasing joy, hope and optimism that will work no matter what your age:

Make a list of at least 50 great things that happen to you every day.

Laugh a lot. You’ll heal your body and your mind.

Discover a new challenge each month.

Try meditating for just five minutes each day.

7: Sex After 50 – Ha! How many of you jumped ahead to this section?

The importance of physical intimacy actually depends on the couple. An alarming number of men used to give up on sex after 60 and many women used to feel that their sex life ended with menopause. Thankfully, that is no longer the case.

Sex at middle age can actually become better and more satisfying than ever before. Maturity gives a couple more experience in lovemaking. The children are usually grown and left home. The pressures of building a career and day to day life are usually less stressful than in younger years.

Is beauty really skin deep?

The answer is yes and no.  It’s a paradox, isn’t it? True beauty begins from the inside out. Don’t you wish there was some way to “wriggle your nose” and regain that soft skin you had as a child? Well, until someone comes up with the true “Fountain of Youth” we are stuck with what we have.

Just remember that getting older doesn't have to mean getting old.

[clarasimone]

Once upon a time, Iain Glen was Henry V

Sorority, tip-toe with care to Youtube and DO NOT leave a trace behind for fear someone might outlaw this video. @scratchybeardsweetmouth found this treasure after I alerted her to a shortened version, also hidden on youtube, of a now extinct VHS tape of excerpts of Shakespeare plays, staged by the Royal Shakespeare Company (RSC) in 1995, featuring our young bear as Henry V.

I did the research and the RSC has since issued a DVD of this compendium (2003) but did not include Henry V (whyyyyyyy ?!!). The only copy of the full-length version I could find is a VHS still in circulation in a public library in the Bronx (!). Of course, you may go the RSC archival library and watch it there... but the youtube hidden treasure will give you a good taste of our young master Iain Glen’s INTENSE performance of this amazing Shakespeare character.

We’re lucky in that the youtube segment includes the St. Crispian monologue ! 

When I teach Film Aesthetics, I do a comparison of Laurence Olivier's St. Crispian speech (1944) and Kenneth Branagh's version (1989): the similitudes and differences in the mise-en-scene, performance and overall visual and aural style. I won't go into the details, because we’ll still be here tomorrow (well I included SOME below ;-). Suffice to say that this monologue makes me cry every time, especially in the Branagh version when the rhythmical pattern of his delivery matches the musical beats once we've cut to his close-up. It’s impossible to remain stoic when we get to the "band of brothers" segment. A rousing "give me courage before the battle" speech that plays on the notion of brotherhood, the desire to belong, to each other and to something greater than ourselves, to overcome our fears in order to become heroic. There's a lot of that at the end of Season 7 in GoT when Jon, Jorah and their unlikely companions go get a White !

So when I discovered that Iain Glen had played Henry V in the 90s, my heart sank knowing that I'd never be able to see that. Plays are so rarely filmed. Discovering that clip on youtube, even truncated, felt unreal. @scratchybeardsweetmouth found me/us an even better version :-))) Glen's approach is fascinating in that (I feel) he plays the King in a very passionate and, at times, dolorous way, like a martyr really, willing to sacrifice himself. I'd follow him to keep him from dying in the process ;-)

What do you think @unterwasserfisch, our resident theater expert ? :-)

https://www.youtube.com/watch?v=qk_rPHoSc8w

the Olivier version

https://www.youtube.com/watch?v=bvFHRNGYfuo

the Branagh version

In the case of Olivier, he very consciously goes for the theatrical feel. He didn't have to do it this way. It's an homage of sorts. But it's also a bit deceiving because he does move the camera, gets nearer to the lens, modulates his speech, does murmur before projecting again. Nonetheless, the most striking element of his mise-en-scene is his use of the long take. It keeps the performance whole and creates an almost subliminal tension: the longer the shot lasts, the more we're left waiting, hanging on the performer's words. And THAT certainly gives us an experience akin to the theater where we experience the narrative and performance is real time with no editing. As @scratchybeardsweetmouth, pointed out, even the speech was made to be loud, as in a play, because the idea was that you needed to be heard by the farthest person in the room. Brannagh's approach is more naturalistic, includes more murmuring, playing for the camera and not the men standing far away in the forest ;-) But it’s the pauses that kill me :-) In class, I replay that bit over and over again (cue: 2M49 on the youtube link ;-) Goosebumps ! The amazing thing in this moment is that Henry seems in tune with the very fabric of filmmaking. It's as if he can hear the extra-diegetic music we're hearing and creates an emotional dialogue with it. He's in a natural position of power as king and military leader but him "hearing" the music enhances his uncanny power of persuasion even more :-) 

Before we get to Glen’s version of the St. Crispin Day monologue, we are also privy to his very moving soliloquy which prepares him for his rousing speech. The King, left alone, suffers the loneliness of being the one at the top and not a simple man. He tells God he hates the pomp and ceremony surrounding him, because it isolates him. He wants to be one with his men. He's afraid for them in the coming battle, fears he won't be able to rouse them, rally them, and knows that many will die. The vulnerability Glen as Henry shows in this scene is a great way to set the table for the St. Crispian speech because he seems so shaken, we don't expect he'll be able to lead them. But when Glen/Henry finds the right words, composure, emotion after a night of self-doubt and almost self-loathing, it surprises us, moves us and indeed makes us want to be part of his Band of Brothers :-) 

Must include the actual words !

KING HENRY V

What's he that wishes so? My cousin Westmoreland? No, my fair cousin: If we are mark'd to die, we are enow To do our country loss; and if to live, The fewer men, the greater share of honour. God's will! I pray thee, wish not one man more. By Jove, I am not covetous for gold, Nor care I who doth feed upon my cost; It yearns me not if men my garments wear; Such outward things dwell not in my desires: But if it be a sin to covet honour, I am the most offending soul alive. No, faith, my coz, wish not a man from England: God's peace! I would not lose so great an honour As one man more, methinks, would share from me For the best hope I have. O, do not wish one more! Rather proclaim it, Westmoreland, through my host, That he which hath no stomach to this fight, Let him depart; his passport shall be made And crowns for convoy put into his purse: We would not die in that man's company That fears his fellowship to die with us. This day is called the feast of Crispian: He that outlives this day, and comes safe home, Will stand a tip-toe when the day is named, And rouse him at the name of Crispian. He that shall live this day, and see old age, Will yearly on the vigil feast his neighbours, And say 'To-morrow is Saint Crispian:' Then will he strip his sleeve and show his scars. And say 'These wounds I had on Crispin's day.' Old men forget: yet all shall be forgot, But he'll remember with advantages What feats he did that day: then shall our names. Familiar in his mouth as household words Harry the king, Bedford and Exeter, Warwick and Talbot, Salisbury and Gloucester, Be in their flowing cups freshly remember'd. This story shall the good man teach his son; And Crispin Crispian shall ne'er go by, From this day to the ending of the world, But we in it shall be remember'd; We few, we happy few, we band of brothers; For he to-day that sheds his blood with me Shall be my brother; be he ne'er so vile, This day shall gentle his condition: And gentlemen in England now a-bed Shall think themselves accursed they were not here, And hold their manhoods cheap whiles any speaks That fought with us upon Saint Crispin's day.

And finally, the youtube montage includes the “love scene” between the King and his french fiancee. A delight ! Especially given that it amazingly foreshadows Jorah (see the passages in bold ;-) and the awesomeness that is Iain Glen in his more mature years.

KING HENRY(...) Curse my father’s ambition! He was thinking of civil wars when he conceived me, and consequently my outward appearance is harsh and steely. I intimidate ladies when I come to woo them. But I promise you, Kate: the older I grow the better I’ll look. My comfort is that old age, that poor preserver of beauty, can’t make my face any worse than it already is. If you have me, you have me now at my worst; and if you have me, you’ll appreciate me better and better. (...) KATHERINE Dat is as it shall please de king my father.

KING HENRY Oh, it will please him, Kate. It will please him very well.

KATHERINED it shall also content me.

KING HENRY With that I kiss your hand and call you my queen.

(And brownie points to Glen for speaking a few words in french. As if I wasn’t already putty in his hands ;-)

[happymetalgirl]

Slipknot - We Are Not Your Kind

Apart from the finally realizing release of Tool’s exasperatingly long-teased fifth album next month and arguably Rammstein’s ten-year-awaited self-titled album, Slipknot’s We Are Not Your Kind is and was always going to be 2019′s biggest metal release, and since its release its chart success has fulfilled that prophecy.

 Every new Slipknot release is quite the momentous and fixating occasion for the metal community, both for fans of the band their detractors, and part of these new releases feeling like such a big occasion is because they don’t come often. Despite the band blowing up in no modest sense of the phrase at the turn of the millennium with the one-two punches of their iconic self-titled debut and its successor, Iowa, the band have only released four more albums (including this one) in the nearly two decades since their sophomore album in 2001. And despite the motifs of brotherhood the band make a notable part of their image, the tight-knittedness among the nine of them there always seems to be some kind of inner tension or circumstantial tumult surrounding the band and these releases that results in hiatuses and hold-ups that result in these long push-backs.

The band took a hiatus right after Iowa’s draining touring cycle and volatile recording process that nearly prevented them from getting their first Grammy with 2004′s Vol. 3: (The Subliminal Verses), after which they took another hiatus before the tense and disjointed recording of 2008′s All Hope Is Gone, which the band have since cited in hindsight as a low-point of moral for them. Bassist Paul Gray’s death after the album’s touring cycle understandably put the band’s future in doubt and, along with the departure of longtime and beloved drummer Joey Jordison, contributed to the six-year gap between All Hope Is Gone and .5: The Gray Chapter (this album’s predecessor), which I consider their best work since Iowa. And Remember when Jim Root said he didn’t want the next Slipknot album to take a long-ass time... back in 2015? Yet, here we are, nearly five years after album number five with album number six. And yet, Slipknot consistently remains one of metal’s most recognized figureheads and biggest touring acts. I mean, fucking Slayer opened for them the first time I saw them live.

As much as we can take their presence for granted at this point, Slipknot’s unprecedented ascent from the desolation of Iowa to worldwide stardom and maintenance of it with a lot of “despite” along the way is certainly spectacularly intriguing. And the band’s sustained high profile could be owed as much to the band’s magnificent balancing act of raw, death-flavored nu metal and anthemic alternative metal as it is to frontman Corey Taylor’s notorious charisma with the metal press and his ability to draw headlines and speak so widely and mostly eloquently to and for the metal community. Like if this genre had to elect a president for some reason and candidates had to campaign for it like any other presidency, Corey Taylor would easily be the most poised to demagogue his way into office, with Loudwire Fox-News-ing behind him the whole way there, and that hypothetical scenario is the only time I will liken Corey Taylor to Donald Trump because I know the former really does not like the latter. But again, Slipknot’s career has been an impressive balancing act of infectious melodies and tasty grooves with unbridled visceral aggression that unites both casual and deeply invested metal fans and that a lot of other bands see as the optimum career model in this day and age (often citing Slipknot as the last big metal band to get hugely culturally relevant outside metal). So with the twenty-year mark of the debut of heavy metal’s arguably last big figure, how does that band’s sixth record contribute to the preservation of their relevance?

Like just about every Slipknot album before it, We Are Not Your Kind came with its own contextual tempest, this time being percussionist Chris Fehn’s suing of the rest of the band for financial injustices just a week and a half after the album’s announcement and swift subsequent dismissal from the band, leaving only six of the nine members that recorded the band’s first four albums. As much as the band’s proclamations of camaraderie in the face of one internal conflict after another might seem unfounded, internal disputes and line-up metamorphoses are a common reality of most bands, and it’s not surprising that the nine members in a band twice the size of the average band in the genre get sick of each other and fall out in some way. They can’t all be Rammstein, but even that marriage has had its rough patches despite never suffering a line-up change. But the falling out with Chris Fehn is not like your usual “creative differences” or “time for a new chapter”. The allegations of unethical financial misconduct by his former bandmates of his lawsuit are seriously heavy and potentially quite damaging to Slipknot’s and that hypothetical metal president’s reputation. Yet it has been relatively quiet since Fehn’s departure, the potential juiciness of which would be undoubtedly squeezed by any surrounding press, which has led to a lot of speculation about the band perhaps trying to resolve this with Fehn quietly and diplomatically and about his yet-unidentified replacement perhaps not being a replacement at all. And I bring this up because of “All out Life”, the single that was released in late 2018 from which this album’s title is derived that I did not place on my year-end best songs list last year because it sure seemed like it was intended to be on an album. Despite being a truly ripping riff-fest featuring the album’s title as a lyric, “All out Life” was curiously left off the final track listing of We Are Not Your Kind, which led to speculations of it being left off for legal reasons in the face of this pending lawsuit (being that Fehn was featured on the track). Yet, the song made it onto the Japanese release of the album as a bonus track at the end, which leads me to explain how I’m going to be assessing this album. “All out Life” is a great, identifiably Slipknot track and the album is better with it, and while it’s not the most official part of the album, I’m listening to the album with it every time, and I’m including it as part of the album for all assessment purposes. It’s a song the feels like it was intended to be more of an opening statement right after a signature Slipknot intro track, and its sudden finish feels a little weird at the end of the album, but it works in its own way as a more abrupt closer more effectively than “Solway Firth” does as a not-so-grand finale. So, yeah, for the good of this album, I’m taking its differently-titled-not-included title track into account.

Okay! Wow! That’s a lot of context; let’s have a peaceful, uneventful album roll-out next time guys, even though I’m sure the seventh album being due to be released (by extrapolation of the pattern of its predecessors’ releases) during the Kanye presidency will inevitably come with some more gaffs, laughs, and way-too-long preambles, maybe stick it out for one more album, Clown, for me, so I don’t have to write another history paper. (Good God what am I going to do next month with Tool’s new album) OKAY! Enough! On to the fucking musical content of Slipknot’s sixth album.

Like I said, I really loved this album’s predecessor, .5: The Gray Chapter; the band were dialed in both compositionally and performatively all throughout the measuredly varied track listing, and the production was spot-on, with Corey sounding assertive and with Mick Thompson’s and Jim Root’s guitar tone to fucking die for. We Are Not Your Kind is a different story. It’s not a stylistically or procedurally radical departure or anything, and much of the production carries over from their last album. But there’s a certain twist to the band’s otherwise enrapturing X factor that feels like they’re trying to do something unnatural for them. And a lot of it stems from the odd bits of widely noted experimentation among the longer-on-average tracks across this album compared to previous albums. It’s not that the band haven’t incorporated diversions into industrial or eerie ambient tension-building territory in the past, but albums past have incorporated these non-exclusively-metal features in cohesive ways that contribute supportively to the albums’ flow, whereas here, the flow of certain songs and certain sections of the album feel disjointed as a result. Also contributing to the weird flow of the album is the distinct era-mimicking of certain songs (quite possibly unintentionally). The album’s opening song after the “Insert Coin” intro track (which might unfortunately be the most meager and least effective hype-building intro track of the band’s six albums) and lead single, “Unsainted”, feels quite like it’s 2019′s “Sulfur”, with the similarly alternating gruff alt. metal verses and soaring cleans on the melodic choruses and the bridge slowdown. Like “Sulfur”, I find the primary melody sufficiently anthemic, and even though I wish the band did more with the choir supplementation that kicks the melody off, I quite like the song. But then there are stylistically schizophrenic trajectory and flow disruptions not too long after, like the distinctly Vol. 3-type groove-banger, “Nero Forte”, whose pair of headbang-inducing nu metal beat and falsetto melody and the battle snare drum march at the bridge akin to “The Blister Exists” are certain calling cards to the band’s third album. Fans seem to have taken quite a liking to this song in particular, and I like the delicious nu metal riffage at the core of it, but I feel like the song is a bit repetitive as it goes on and still needs to do a little more across its run time to feel as fulfilling as it should be. I’m sure it’ll get the crowds moving though, and I sure appreciate that.

The album even presents even full-on callbacks to the fast-paced visceral vitriol of Iowa on “Red Flag” and the industrial nu metal creepiness of the debut on “Birth of the Cruel”. The pensive acoustic strumming and seething melodic guitar work of the interestingly emotionally progressive “A Liar’s Funeral” also feels somewhat lifted from the dynamic of the band’s previous album (which makes for a pretty bright highlight in my eyes). “Orphan” and “Not Long for This World” revel in the same thick, crunchy guitar tone, metallic percussion, loud-soft dynamics, emotive guitar melodies, and elevating chorus vocal melodies that made songs like “Nomadic”, “Sarcatrophe”, and “The One That Kills the Least” on The Gray Chapter so integral to its consistency, and “Critical Darling” feels like it pairs Iowa-reminiscent violent alternative metal verses with a Vol. 3-esque melodic chorus. Again, I quite like these songs. And on their own they are mostly well-composed and all fine and dandy, and I’m certainly not knocking Slipknot for sounding like themselves, but together the songs run like a compilation album with some rarities and scrapped tracks from the vault tossed in the mix as well. But getting past the weird flow of the album is not too high of a hurdle to clear, and once cleared, the album really is a confident, appetizing, and satiating exhibition of Slipknot’s time-tested talents that have put them at the level they are at.

The album has been noted as palpably experimental in comparison to previous efforts, which occurs in the album’s dark, muggy corners interspersed around the usual verse-chorus-verse-chorus structures at the foundation of the album: the ambient experimental bits that take the form of codas like the end of “Critical Darling” or interlude tracks like reverbed xylophone plinking of “What’s Next” and the incantation of “Death Because of Death”.

Despite its cliché title, the album’s most perplexing exercise of experimentation comes on the drawn-out, experimental, atmospheric melancholy of the song “My Pain”; it serves as a breather of sorts on kind of a take-it-or-leave-it basis. And the song “Spiders” I’m not really a fan of either; the repetitiveness of its harmonized chorus clashing with the intended spook of the song gets old kind of fast, which is too bad because I quite like the industrial sampling, the eerie piano plinking, and the weirdly effects-driven guitar solo around it. But honestly, that’s the lowest the album goes for me, and there are still positives to be taken from those songs, which is a testament to the band’s work on this record.

This album honestly took some time to grow on me after my first experiences with its weird flow left me perplexed. But once I got past the flow and familiar with the album enough to be able to focus more distinctly on the individual tracks, I was able to see it as a comprehensive display of the band’s full arsenal of abilities, a balancing act of Slipknot’s long-running balancing acts that still manages to make room for surprises (that the band might be able to expand upon in the future as they continue to carefully develop their sound) without sacrificing compositional or stylistic/aesthetic integrity. Again, the flow on this album is quite unlike any other Slipknot album, but it’s hardly enough to spoil the strong compositions from end to end. Despite my and many others’ high expectations for this album (and perhaps its high susceptibility to disappointment), I was pleasantly surprised with We Are Not Your Kind; and I think the band will be able to look back on this album positively in the years to come. Evidently, we should probably just let Slipknot take their time on the next one too because this one was worth the wait. And I know it’s probably the basic bitch thing to do to praise a Slipknot album like all the other mainstream metal critics probably are, but I can genuinely see why, and I’m not gonna slag an album just because its creators are extremely popular and it looks good for underground karma points. It’s apparently fun for jaded metal fans to shit on Slipknot for not playing 280 bpm blast beats or for using clean vocal melodies and emotive acoustic sections like a bunch of pussies, which is laughable. I mean if you don’t like what Slipknot strive for and it’s not your cup of tea, that’s chill, but if you’re talking shit because you think you’re special for liking a lesser known death metal band that plays faster and think Slipknot is shit because they aren’t doing what you want by not playing like your favorite techdeath band, that’s so tired, narrow-sighted, and embarrassing not just to you, but to the aforementioned chill people you embarrass by extension. If liking a Slipknot album like Loudwire and Metal Hammer probably do makes me a basic bitch, then buy me a pumpkin spice latte next month and send me a crop top with “live laugh love” on it in the form of a black metal logo.

Despite/10

[yui-moks]

by https://hipernicevideos.blogspot.com/2020/08/beat-aging-process-subliminal.html