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thelifedocumentor · 4 years ago

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Nkuley Masemola and his iconic creative expressions

Nkuley Masemola is a multidisciplinary creative who works as a fashion model, DJ and stylist. Nkuley Masemola has modelled for iconic South African fashion brands such as Rich Mnisi, Thebe Magugu and Nao Serati. They also invite the young vibrant youth of Johannesburg to the eccentric scenes of Braamfontein through DJ’ing. With styling that transcends cultural eras and borders, Nkuley translates their experiences of navigating South Africa and the creative culture artistically into their photographs. The success they have garnered since working as a fashion model from the age of 17 is truly inspiring. In this interview we talk about what inspired Nkuley growing up, their artistic journey and the importance of being yourself in order to thrive in the creative industry.

1. How was it like growing up in Pretoria?

The funny part is that I didn’t actually grow up in Pretoria, it was more outside of Pretoria than it was Pretoria. I grew up on the outskirts of Pretoria - that’s the farms. Bronkhorstspruit is where I was from. And it was bland - I don’t know any other way to explain it. It was like growing up on a big sheet of white paper. I had to make out myself. It was an experience but it was also really overwhelming because no one there had progressed to anything. It was complicated but also a good learning curve. I always say I would have rather not. I would have rather had a soft life but I guess I see the benefit of growing up like that but it was overwhelming.

2. What are some unforgettable childhood experiences you believe shaped who you are today?

When I finally moved to Bronkhorstspruit, after my father passed on, my mom bought herself a huge mirror. I didn’t have friends, I didn’t have anyone. So the only thing I ever did was look into that mirror. I had all my performances there, I had all my interviews, I did everything with that mirror. I just became so self-obsessed, all of my art is self-obsession. Everything is all about me. It’s my self-portrait, it’s music that is about me, everything that is structured in a way that is like self-worship. So I think that particular childhood experience shaped me forever. I got harassed but I never got bullied. I never let anyone bully me. If it happens, I can just avoid it, I’m not gonna stick around. I was always inside the house. I would make up my own stories, live in my head, and wait for the day I move to Jo’burg. When it finally happened, I already had like self-discovered so much. That particular childhood experience shaped who I am today. I created my whole world, and now I’m living in it.

3. How did you start modelling?

Back home, there used to be this modelling agency. It was just high school kids who had high-quality cameras, more than it was a modelling agency. They were like, “Yeah you should be a model.” And I was like, “I guess.” It was never my thing. I take really good photos, but I don’t look like a model, I don’t present myself as a model. At that time, I wasn’t the typical male model. And so I was like I’m not a model. That happened and it wasn’t really serious. When I moved to Jo’burg, my friend and I had just come from registering and we were going past Kitcheners and my friend was with their friend. We were all speaking to a guy and he said, “Yeah you can just come back to my place.” We all went back to the place. Then I left my matric certificate at their place and then when I left and went back home, they were like, “You left your stuff here [matric certificate] and also, I saw on Twitter that you might have to drop out of school because you don’t have anywhere to live until March so you can just live with me.” This is the person that I met with a friend because they met on the streets of Braam, literally at the corner of Kitcheners. I lived with that person for 3 months. They literally got me into modelling.

The first day I got here they were like, “You’re a star!”. I was on a music video set, and they needed one guy and I had just moved to Jo’burg and put my bags down. My parents had just dropped me off. I put my bags down and went up to shoot the music video. After that, I had another job. It was quiet for a minute and then my friend asked me to escort them to a casting. Still, I was not in the modelling game, I was just deep in love at the time. So cool, I go to this modelling gig, and then when we get there, my friend doesn’t get picked but they’re choosing from outside. They’re like, “You? Come here.” I said that I’m not here to model what’s happening? They said, “No, just audition quickly.” So I walked and strutted to the wall and then when I came back I got picked. It was The Threaded Man show. After that, everything started picking up, everything just set off. That’s how that happened. I just started modelling after that. Still very weird.

4. Wow! The Threaded Man was so huge at that time.

I didn’t even know. I didn’t know who Siya Beyile was. I had just got to Johannesburg. I had no idea who anyone was. So literally getting calls from Rich Mnisi being hey it’s Rich Mnisi. When I found out it was Rich Mnisi I was like OMG! They were shooting for i-D. That is one thing I’ve always dreamt about - I’ve always bought i-D magazines at the taxi ranks. When they said, "You’re 17 you’re gonna shoot for i-D", I was like that’s crazy, that’s crazy. I shot for almost every magazine that I had back at home. In one year, I had Cosmopolitan, Vogue, and i-D. My mom was like, “Aren’t these the magazines that are in your room.?” It was my favourite flex. I didn't even know it’s gonna happen in terms of modelling. I had always imagined being a part of the creative team or like one day when I’m all the way older on the cover of i-D for doing something. But not a whole documentary that is based on us. That’s so crazy, that’s insane.

4. Which would you say are your favourite fashion collections you have modelled for?

I really enjoyed the Rich Mnisi collections that I modelled for in the first year - I thought I looked really good in zebra print. Thebe Magugu gave me a suit and said “Do what you must with it.” That was really insane for me. Siyababa Atelier’s collection, Rich Mnisi’s collection and Nao Serati’s collection.

5. The South African creative scene has truly evolved over time, but there’s still so much work to be done. What do you think still needs to be done to move the culture forward?

I think South Africa needs to stop normalizing things and actually live in them. We need to stop trying to normalize things so much because we are othering them more than we think. We are othering people more than we think. We are regressing more than progressing. If we keep saying “Normalize trans women” - why? They’re women. Women are already normal. You don’t need to normalize women. It’s microaggressions like that. People don’t realize homophobia is just as serious as racism. The same way people are judging you because of your skin colour is the same way you are judging someone for loving someone. I think South Africa would be much better if they just lived in their truth more than trying to be these progressive people. We’ve been through so much, that we should know by now that we can’t risk having another revolution. We’ve revolved too many times. We’ve been traumatized too many times - we don’t need any more trauma. We just need to get that into our heads. We need to let go of the power game. The obsession with power in this country is a hectic obsession - that needs to be let go of.

6. How do you find the experience of integrating fashion, music and creative direction together to tell a story?

It comes easily because everything that I do is still self-obsession. Everything that I create is based on me so it’s not that hard. Self-awareness. It’s hard in that term that you know yourself so much that people want to digress you into this way. The only thing hard about it is people not understanding you and wanting to change you and who you are at that point. You already know who you are. Trying to accommodate everyone into your world because I’ve already said I am living in my own world, in my own space. In my own space, there is no need to accommodate other people. I think that’s the hardest part about it. It’s just me finding spaces for people in my world. In terms of navigating it, it’s always been me living out what I wanted to live out. It’s always playing music - when I DJ I play all the music that has registered with me. I’ve always been a Rihanna girl, I’m always going to play Rihanna. I’m always going to have the Rihanna aesthetic - the same way she does it. I’ve been studying Rihanna for the longest time in my life. The same way she does it. The same way she has this creative direction that goes into her music that also goes into her modelling - it’s really insane. That’s what I’ve always done. Rihanna, FKA Twigs, and FAKA do that in the most perfect way ever. That’s my thing.

7. If you ever feel a creative block during a project, how do you reconnect and channel your energy?

I like feeling things out. If it doesn’t happen then it’s not gonna happen. I was at a point where I was really depressed last year - I was at my lowest. I had never been that depressed ever in my life before. I told myself that I never want to feel like that ever again. For that to happen, I always have to be honest with myself. I have to know that I can’t do this right now. If I’m gonna go somewhere and I’m like okay you’re gonna have to model today but you don’t have the haircut. You look bad, you’re gonna feel bad and the pictures are going to look bad. So rather, we don’t do it. Rather sacrifice that and put me in a risky position but I’m not going to put something out there that I don’t believe in and don’t feel comfortable with. Being uncomfortable with something that’s seen by so many people is actually kinda crazy. It’s like uploading a picture of your pinky toe that you don’t like. I know people always say embarrassing yourself on the internet is being real, but that is always different for me. My realness is perfection. The real me is the perfect me.

8. Which creative material inspired you on your overall journey - it could be a book, film, exhibition, art collection - anything really.

Definitely seeing FAKA. Sitting down, talking to FAKA, and realizing that we have had the same life experiences. When I was 15, when I was a party girl - I still am, FAKA was like, “Oh you host this party called “Umrubisho” and I was like omg we used to host that party and FAKA was like we were always there. It’s so crazy how the Universe aligns like that - that’s insane to me. No one at that point understood what that meant to me but it just means to me my life is fine, I don’t need to worry about a lot of things. Life is just going to progress the way life progresses. I’m just going to get to where I need to get. A moment most pleasing to me was when FAKA was curating a Versace show. That’s so insane. That means anything is possible. That moment for me just sparked up everything. Thebe Magugu winning the LVMH Prize. Rich Mnisi doing Milan Fashion Week. Moments like that for me make anything. Moments like that for me are the most affirming.

9. Which brands and artists would you like to collaborate with in the future?

I’m not a big fan of Kanye but I really love Yeezy and the direction that it’s taking. As much as I’m working with Adidas, I would love to go deeper into Yeezy like that. Of course, I want to be a FENTY girl so, so, so bad. All the luxury brands - not necessarily as a model but as a muse nonetheless. I would love to be a DIOR girl, I would love to work with YSL but most mostly, I want to be a FENTY girl.

10. And lastly, which words of advice would you give to artists who aspire to manifest their dreams in this creative industry?

I would say be yourself. It’s not a joke, really be yourself. Everyone always says this, and it sounds corny all the time but really but it took me at least 2 years to realize, be yourself. Don’t fake it out, be yourself in such a way that even if you are being fake, you’re being fake in a way that is beneficial to you. You’re being fake in a way that is not going to hurt you in the end. You’re doing chaotic things but everything you do must be aligned with you. Everything you do must not come back and bite you. Everything you do must be something that you’ve always wanted to do. Be selfish as much as you can because being selfish just means being yourself and be selfish in ways that will still benefit you. That’s what it has always meant. Just remain yourself because that’s all you’ll have. People will come in and out, but you’re gonna remain with the same person forever - and that’s gonna be you. Take care of yourself, you know what’s good for you, you know what hinders you. You know what you need to do, so just do enough of that to keep yourself going.

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shoushatohaisha · 6 years ago

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review: hajimari no kyojin (osaka 6/1)

so. hello. i usually write up my butai thoughts as, um, 100+ tweet threads in the immediate wake of whatever i just saw, but this time around i thought i'd work them out into a proper report, of a sort. if you, too, have seen this show already and want to talk about it... please. any time. always.

about reviewing: this is my very favorite 2.5D franchise, ever. but this is also a review, not a cheerleading exercise, so not every single thing i have to say is unrelentingly positive. having said that, i respect kinoshita, wada, suga-zachou, and the staff at large more than just about any creative team in this corner of japanese theater fandom so like. i'm not here to drag, lol.

about spoilers: i talk about the plot elements covered but try to avoid spoiling any of the fun production surprises. :) happy to do a more spoilery play-by-play later if folks are curious.

about length: i just checked and it's 2400 words im so sorry.

without further ado...

first of all, i admit that based on the preview clips i doubted, and i was swiftly taken to task for doubting. IM SORRY WORRY-SAN i trust u implicitly and i should have known better. after the major changes in shinka no natsu, i was concerned that bringing back the revolving stage and the original opening theme would feel stale/regressive. it did not. while they did bring back the revolving element they also extended the stage backward and added a second level behind a full stage height projection screen – the second level was used to do some neat staging for flashbacks/parallels and the screen was used to, how shall we say this, up their projection game in a major way, which i frankly did not think was possible. i will not spoil the details but it was pretty great, on a purely technical level.

i also realized that a lot of the repetition – opening with the bike scene, bringing back the original opening credits music, the staging, etc – is the "look back" over the last couple years that i'd expected to come this fall. they are very obviously already preparing for the end – you could think of this as part one of their last show, with the fall as part two. the show opens with a restaging of sixth grader hinata seeing the little giant on tv for the first time – then the current karasuno team take the place of the tv and hinata joins them for a team jog. "karasuno, fight!" "oh!" "fight!" "oh!" only then each character calls out their signature line from the show so far. "uchi no renchuu wa chanto tsuyoi" / "mou tobenai karasu nante yobasenai" / "murabito b mo tatakaemasu!"

and haha. let me tell you. BOY, DID I FEEL THINGS. a lot of things. i think yachi got me the worst but they were all real bad. (i have so many feelings about yachi's story and what a beautiful job saitou ami did with her character on stage. god. ;_;)

the theme of this play was the role of captain – what makes a good captain, what a captain does for the team, and how to step into those shoes when the captain is gone. the johzenji match is fun, but here, in a sense, it exists more or less to set up the wakutani match – (re)establishing daichi's importance so that his absence feels like the gut punch it is. and fully settling the weight of that responsibility on ennoshita's shoulders, as both daichi's substitute on the court and the captain-in-waiting.

with that in mind, the rival schools: imo it wasn't strictly necessary to cast full teams for each school – each match got its own dedicated act, and unlike, for example, nekoma/datekou in karasuno fukkatsu (which had a similar story structure), there aren't really any individual characters on these rival schools who have a role as such other than terushima and takeru. (you know, the captains. see above. XD) so in theory one could get this done with, like, one actor for each captain and then an ensemble cast playing the rest of the team across both matches. HOWEVER, having all those bodies allows them to do super cool stuff visually, and why force yourself to create the illusion of a full team if you don't have to? i.e., /i/ sure am not complaining, isn't it nice to have $$$ to achieve the max vision of your choreographer. XD

i also have no doubt that the kids playing these other characters are doing whatever they can to create a character within the ensemble, and i suspect there's plenty for repeat viewers to pick up on, esp during say the johzenji match (see below). however for the first time viewer following the main flow of the story it's more or less a very large ensemble cast.

the johzenji chaos was well expressed, haha, there was so damn much going on all the time that i hardly knew where to look. (i've also seen opinions on j-twitter that that diluted the impact and i can see that too – it worked for me as a "funny" match that didn't cross the line into comic relief, but ymmv.) i thought the final scene with misaki would pack more of a punch, but i fully expect them to cry at daisenshuuraku so that might fill in the last 10% that's missing rn.

wakutani are another Good Dance Team. one did get a sense, stylistically, of fukurodani- and nekoma-lite with johzenji and wakunan, respectively – i assume that was intentional. mirroring the cats vs owls match, as it were. yanagihara rin's takeru was like… scary?? i had to rewatch those episodes this weekend to see if i'd just forgotten something, but no, stage takeru is not so much reliable middle brother as scowly quiet tough guy. he looked like a kyoutani tbh, and looking at the kid actually cast for kyoutani, one wonders if someone in casting mixed up some paperwork or something. having said that, yanagihara was great at being the character he was, i enjoyed what he did on stage. i'm just not sure that character was takeru. XD (edit: ok having just rewatched, i have to revise this somewhat, i think a big part of my impression was due to being too far back to properly see his expressions the first time around -- up close he was much smilier, and bc i was thinking about it i noticed some nice details like him going over for a family hug afterward.) otoh big post-match scene – all of wakutani, actually – was really good. v effective, i heard sniffles around me.

during this match, johzenji reappeared dressed as takeru's family: FUCKING HILARIOUS omg, everyone involved has clearly learned how to do this right wrt blocking, the very fine line between comic relief and intrusion, etc, after the, er, shaky shousha to haisha experiment of kuroken doubling as oikawa's fangirls. seichou shita na, errone.

also, some great wire work for hinata and takeru – you could tell kenta is really comfortable up there these days. the first time the wires came into play one of the women behind me went "UWO!" which, when a japanese theatergoer makes a noise out loud, that's a true sign something's impressive. XD

nekoma vs fukurodani: Yeah, That Happened. it is a testament to how well done karasuno vs wakunan was that i didn't just spend the entire time screeching BRING BACK CATS VS OWLS because fjkdajfkdlsfjd KYAA. another good staging moment – they used mirrors to create the effect of two full teams playing at a crowded gymnasium, it was brill. i won't spoil some of the fun details but vvjakdlfjdf. and tbh i think the best performance of the four was probably shouri's?? not that this is news but istg idk how someone so soft offstage does THAT on stage. is it this "acting" thing you speak of.

new bokuaka: i mean it was clear some of this material was meant for yoshimoto kouki and i did kinda miss him – i appreciate higashi-san's pinch hitting and he did a solid job. but. ah well. HAVING SAID THAT. fucking "michi wo tsukurimasu yo" i mean we should all be grateful it wasn't kouki and yuuki or it would have just been a fucking fanfic on stage. it was still bad and i don't even go here. XD

and last but not least, arita ushiwaka kenji: not exactly the world's most natural line delivery but that's fine because, i mean, he's ushiwaka. and his physical presence was perfect. which was about all he was called on to do in this particular show, ahaha.

now, for karasuno. and specifically, for my son, kawahara kazuma. remember what i said approximately a thousand words ago, about captains and captains in waiting and stepping up to the plate? (or onto the court, as it were.) ennoshita's story was the heart of the wakutani match and kazuma carried the second act. he was. so. good. he had good material to work with, of course, but he made it even better. i was saying to a friend that in retrospect i think this is one of the very very few parts of the series that actually played better and more emotionally affecting on stage than in the source material (as opposed to differently good/differently affecting). in the manga/anime, you can only see what the paneling or the frame shows you, and those initial paneling/framing choices are focused on the drama of CAPTAIN DOWN. but on the stage, daichi goes down… and off to the side you see ennoshita freeze. and from that moment on, for kazuma, it's go time. he doesn't let up until the end of post-match scene in (here) the locker room – which, jesus, that scene. it packs ten times the punch it does in the anime. because of kazuma.

sorry if i sound like a crazy person here ahaha. but like. like, imagine you have been acting since childhood, you've studied dance with famous choreographers and innovators, you had a main role in The Franchise That Changed 2.5D as a teenager, you've done a solo album, you have a serious history in performing arts... and you get cast in what was initially the smallest role of the entire karasuno team. and you take it! and pull your weight! kazuma was a team player for three years and he deserved this chance to let his actual skills shine so much. ;_; because i don't necessarily think he would have been better in any of the other roles than his actual teammates – but i do think he is a much better actor than several of his actual teammates. and he finally got the opportunity to show that.

anyway, when it came time for curtain calls, the applause swelled noticeably for kazuma – a louder ovation than anyone except kagechan and kenta. and one of those people clapping her hands off, say in row 20, just a random row choice, was definitely tearing up at the same time.

IN OTHER KARASANEWS. kt-san. LIVE IN PERSON KT-SAN BACK IN THE ROLE HE WAS MEANT FOR cries into my hands i love him daichi-saaaaaaaaaan. very occasionally his delivery reminded me he's a model not an actor, if you know what i mean, but like, for the vast part it didn't matter because he is naturally such a perfect fit. have i mentioned i love him.

new suga: mmmmm. he looked and moved fine but his line delivery did not convince me. tbf it's not like suga has a huge role to play in these matches so 1) it's not a huge deal 2) he didn't get much chance to get into the character. either he'll get better or he won't, and if he doesn't it's not going to sink the next play or anything. he seems like a nice enough kid, i wish him well!

kageyama tatsuya: still can't yell and enunciate at the same time. loved that they brought back the archer analogy from shinka no natsu though!! it was one of my favorite things about his kageyama, and it's nice that it's something he "owns" instead of imitating/inheriting from tatsunari.

tsukishima & yamaguchi: miura kairi continues to get even better, i'm so pleased. <3 also, i love love love that they still use the musical motif from shousha to haisha for yamaguchi's jump float serve. it was the same in shinka no natsu, it's the same here. THE TSUKKIYAMA WAS REAL CUTE, great detail work before and after the serve as well as after tsukki's block(s). as for tsukishima, much as they brought back kageyama's archer imagery, they brought back tsukki's fancy katana kill block. (they didn't waste kondou shouri, either, i'll leave it at that.)

last but not least, MY ACTUAL SON AND FEELINGS TWIN, SUGA KENTA: ok like. to set the scene here. i have mad respect for this kid and also love him to death as a human. i think he puts more thought into this production than anyone else in the cast – he is practically worry-san's AD. and he clearly has a lot of real deep thoughts and feelings about the source material. so deep in fact that it took a while for me to come around to his hinata because while, for example, tatsunari's kageyama could have walked straight off my television screen, kenta went down to the manga and built hinata up from there. he didn't have a choice – he's nothing like murase ayumu's voice. all too often we, and i include myself here, think of the two dimensions in 2.5D as anime, rather than manga... but just as there's a big gap between the two dimensions of animation and the three dimensions of live theater, there's as big a gap again between static black-and-white drawing, and movement and color and sound. and when i looked at kenta's hinata as something created solely from furudate's art style, it all slotted into place for me. (naturally, ymmv.)

it also took kenta longer than some of the others, i think, to portray all of what he wanted to. shoen hinata was pretty yelly, and pretty single-register yelly. hinata is a yelly character, of course, but the balance between that hinata and Serious Match Hinata was out of whack at first. this got better and better with every show. and then—

his encounter with ushiwaka here. was IT. it was what i was looking for all this time. his delivery of hinata's big line there was like – i think maybe i clapped my hands over my mouth, unclear, bc it was like the final missing piece and i was so happy. kentaaaaa. ;____;

part of me wonders if this is what kenta's always had in his head but maybe couldn't get his face/voice to express the way he wanted it? OR, IT'S KENTA, SO MAYBE IT WAS ON PURPOSE and his previous Serious Hinata was meant to be like, just a feral hunger child whereas this is the kid who experienced the heartbreak of losing to seijou. i would love to ask him tbh. XD

anyway, my son, after five plays continues to grow in his portrayal of this character. kenta is the heart of gekidan haikyuu in so many ways, and i will be at their graduation show if it kills me.

(breathes out) i think that's. everything. a best setter award to anyone who read this far, and feel free to ask if there's anything specific you want to know about? i will be seeing it again this weekend for daisenshuuraku and will be sure to report back on who cried, etc. all hail volleyball stage the end. 🏐

#review #engeki haikyuu #hajimari no kyojin #im sorry i have so many feelings #AND THIS IS THE EDITED VERSION #i spared you my intensive theories on how kazuma ended up in this role in the first place #i just #look #i love this production so much

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acethena-discourse · 5 years ago

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@grungedyke Tumblr own’t let me reblogged, and i’m not sure if its being dumb or you blocked

Thanks for showing up dumbass. Your presence and your type of thinking in that server is like a tumor, do you realize that? You’re a spineless liar if you think a member saying they were leaving is “strongarming” someone, and those mods are truly either desperate or foolish to keep you in there. No wonder people are uncomfortable with the environment in there – you and other active users have a habit of distorting any disagreement into violent persecution while pretending everything on your side is completely “valid” and brave.

I’m allowed to stay because i don’t break rules. Even now, this isn’t breaking rules. I rarely interact with minors in the server unless they directly talk to me first. But please go off about how I’m terrible for thinking that demanding a mod force someone to stop unhealthy coping, and cropping that out is bad.

My claim that rules are more heavily enforced is directly addressing the fact that i have gotten in trouble for things i legit forget. Ie. THe server does not allow the word b*tch. So often i’ll type “bitching about’ and get a warning from dyno. Thats p fucking strict. I’ve also phrased things v poorly, and been told to either delete the message or clarification, I often opt to EDIT THE INFORMATION because I know exclus will screenshot the bad one, and not the new one. But okay.

Recently a rule has been implimented for triggers, telling us that server anouncemnts will be modifed with new triggers/squick as they appear. Now if you have issues with these instances of rules, please go take that up with the mods.

Now, as for your screenshot, yes, I did tell them to archive it, and how I’ve both handled people baying for blood over the art of 2 ocs in a server in the past. I locked the channel, put an NSFW ban in place, and then *archived them* something I’m surprised you are more grateful for. Considering not only would archiving the channel would keep the good advice (ie yes use lube, do not use soap like in fanfic etc.) along with the bad that yall screenshotted before.

You may pretend to be nice, but that typical tendersoft nerd innocent-white-person shit does not stop you from being predatory.

There is no pretending. I genuinely believe it or not, believe in being nice to just about everyone I come across. That includes you, or a stranger on the bus or even someone walking by my house in a fucking ski mask. Being polite, and kind is just something I believe in. Until you give me beyond a reasonable doubt, I don’t even owe you basic compassion, then you’re gonna get it. Yes, that includes for big mistakes like not having age roles when you were finding your feet in discord moderation. That includes, people like you, who are trying to accuse me of “preserving gross content” when the reality is archiving a chat is a neutral suggestion because it favors no one. But i see, clearly i should go around kicking random babies and yelling don’t touch me. Because clearly if i’m not openly 100% mean to everyone, i must have some ulterior motive for my kindness right?

Can you name a single change to the rules aside from this recent “keep all the messages and let the adults keep reading them” shite?

See the above. In the past when users got banned all their messages would be deleted. They started keeping this for context. Then there's last year where someone decided to doxx a bunch of discords and said “Btw I did this bc uwuw you don’t edit screenshots” it took two weeks to give or take for mods to come to a verdict on what to do. So they made the rule that screenshots may not have their og username in them. Based on this, alone, i suspect the nsfw channels and sex ed might not be reopened for a similar period of time until the mods make new rules and clarify old ones.

It’s irrelevant and maybe even suspicious for you to bring up the wrongdoings of people who are completely unrelated to this situation. You’re already deflecting onto other people, offering no evidence of the “context,” and bitching on behalf of the mods. If you were in any way committed to safety or improving the situation, you wouldn’t be bringing up random people and downplaying things you obviously witnessed.

“offering no evidence of the context” for someone in the server you would know a handful of things about me 1) mobile tumblr is hell and i attach information from pc once I can. 2) I was out of town for someone so eager to screenshot me funny how you were so eager to forget that information.

So heres screenshot 1

Funfact i did not, and still don’t know what agere is. Now i will say my stance on cgl is that its not for me. I don’t like it, i don’t want to hear about it. But as long as both participates are 18, i also don’t need to know about it. Now if a minor was in chat, said “i participate in cgl with my partner” i would full stop be like what the fuck. And would leave if the mods decided to condone it, but that isn’t what happened. But you can see the mods do point out that if an unhealthy relationship or it was discussed at all outside of nsfw- channels they would be warned, banned, or reported.

Then there is the obvious mention that age regression isn’t a consenting adult, yeah. Ya dang right it not motherfucker. But let's talk about the word AGERE in relation to this. I’ve never once heard that there is a special word for nonsexual coping mechanism. So like damn, I’ll just add that into my vocabulary.

But I didn’t know that word exists, me saying “non sexual cgl” or “coping cgl” is literally me acknowledging that I find that eh but ultimately okay between consenting adults who are not aged regressing vs sexual cgl.

screen shot 2

In this a user tries to suggest the mods have a moral obligation to inform someone its “unhealthy” when mods point out that no they do not, but nor do they allow users to go off telling everyone “Oh cgl is a great coping mechinism you should do it to.”

Which is important. Because again, I hate cgl, but I also am of the mind that, i can’t stop it. I outright can’t, so no i’m not gonna get involved in someones personal road to recovery and be like “you’re disgusting”. I can however tell them to keep it away from me, and not to discuss it in channels minors can see. (a policy that has been in place for a while now.)

screenshot 3

More of the mods not condoning it, and stating p clearly that policies have changed since 2017/early 2018. I’ve been in the server since july 2018ish. And things have been nearly constantly evolving.

screenshot 4

Mods again emphasizing that you can find the policy changes since the messages have changed. Because that is important. They confined this to other channels. Why they didn’t delete the information in sexed, i can’t actually say one way or another. They might have kept it because they believe in mistakes of that caliber being left alone. But you also have no evidence for why they kept the og messages.

But the reason, i consider what herpcourse did lying by omission, is herpcourse led you to believe the above screenshots were out in the open. The ones i just posted happened in some random channel. They did not, they happened in an age locked channel. That only adults are in. And mods are under no obligation to 1) be your personal therapist, 2) nor are they obligated to go “uwu reminder cgl in all situations no matter what is disgusting you dirties” because doing so is preformative. One of the mods is squicked by it just like me. But please go off about how admitting past mistakes happened, refusing to performatively disown something, and refusing to tell anyone who mentions it in the age locked channels is actually gross and unhealthy when you know nothing about them is bad.

I did not, in fact, witness anything in sexed, because I don’t go there. I only witnessed the stuff that followed herpcourse callout, which means the above messages. I have sexed muted.

I also didn’t bring up random people I brought up a known predator who is on youtube, actually sends salacious photos to minors, and is p safe to say fucking gross, my point was there are actual sharks in the water, please stop focusing on the tuna. Because you can surprise, call out both behaviors. But i’ve yet to see an exclus call out someone like pkrussel, instead choosing to focus on people who might have a seemingly large following in one community. Me pointing out sharks in the beach and asking you to stop focusing on tuna, is not telling you to ignore the tuna.

I’m only as committed to this situation as anyone can be, which isn’t v much considering I’ve yet to witness someone grooming a minor in gen chat. Or witnessed them grooming minors at all. The only skin i have in this game is the following: Minors still being allowed access to decent sex-ed resources and being allowed to ask questions. And 2) my own personal discomfort with all cgl. My hope is that rules do become more clear, maybe only discussion of sex ed by users to be direct questions only. Meaning a minor can come in ask a direct question and receive a direct answer. Which while not ideal sex ed, is sitll better than what i got, what you probably got, and what they’re likely getting (if getting any at all)

The mods are not level-headed and not passive when they actually care and think they have control. They’re cowardly, that’s the difference. They literally got more mad over someone making fun of one of their icons and a minor saying genuine trauma with the q slur is possible.

I don’t expect them to be 100% level headed. I’d honestly be kinda upset if they didn’t display emotions when shit like this happens. But please give me a source on the icon thing (which btw, no you shouldn’t make fun of people, period) and for the minor saying ‘queer can have trauma’ bc I do think it can. But if you join fya, you can’t request it be tagged as qlur. Because there is a lot o discussion not only of queer as a personal identity but also queer as a history. Which means groups like queer nation, or shows today like queer eye. And just like I hope if I’m discussing the motorcycle gang made up of lesbians called dykes on bikes and their history, you’d not want me to censor, or remove their history and accomplishments by calling them “d-slur on bikes uwu” you don’t expect me to censor the discussion above. But to my knowledge, the denial is not “queer isn’t used as a slur” its “queer as an identity deserves respect, and to insist its evil is to take the word our oppressors used and give it back to them.”

Also what’s with you specifically and always bringing up “afab” as a gotcha descriptor in arguments? What are you trying to say?

Bc lets be real, when you talk about ddlg, you’re talking about an afab person dressing up as a child and calling her partner daddy while he fucks her most times. Didn’t know to point out the difference between that and agere was in fact a “gotcha” based purely on the agab of the person. But okay.

You need to leave and delete your five blogs from anywhere you can speak to minors like yesterday.

Okay, what are the five blogs? Bc I’m only aware of...literally none that interact with minors in conscious effort.

I highly doubt there’s any reason for them to have changed, considering the execrable atmosphere in that server, so here’s a screenshot of one mod (toytulini) going Karen mode along with a bunch of other 20+ year olds while the minor they were targeting tried to defuse the situation as mentioned above.

What is the context? Bc i legit don't’ see any. I see them arguing, btu about what, I don’t know, if i was involved myself, I do not remember. So again, not much of a smoking gun. It looks like they were trying to get someone to actually *understand* what was being said, but that wasn’t appearing to happen. But again, missing context such as what the argument was about, why that started, so on so forth. also if the person was told not to argue there, yeah, they should have moved it. as per server rules, there are channels to argue in, that wasn’t one. So no matter the context, if they were breaking rules, and did not move when requested, yes, they should be given a ban based on whatever the conversation topic was.

Now, i’ve provided evidence. I’m gonna go to bed, please feel free to dm me here if you need me to clarify anything or want to throw out accusations about how being kind must be predatory af since i’m barely an adult and adults lose compassion after becoming 18.

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