#even then it's specific areas of those states

[absolxguardian]

I imagine someone with AIS is likely going to be the subject of the activist lawsuit (you don't need class action unless the goal is monetary compensation. to change the law, you only need one person, which is usually a case that is borderline in a way that exposes the lack of the logic in the entire system and is the most appealing to the general public). They look very feminine, and some nice white upper-class federal employee (so that there's actual damage, being made to use a different bathroom than they've used their entire life) would be great for PR. Although the fact that the executive order went with the zoological gamete based definition instead of human specific chromosomes is going to complicate this. You can't just go "look she's being forced to use the men's bathroom!" It's "there's literally no place in the system for her".

A state ID with x isn't directly effected by this. As for moving between states, it's complicated. State ID is the domain of the states, but the TSA is part of the executive branch and set the Real ID Standards (coming into effect for real this time in May, they say). Who knows if someone is going to see this executive order and amend those standards to include no x marker. Can you even do that retroactively when you have that sticker on your ID card? It's probably going to come down a lot to individual enforcement. The body scanners are probably going to be reverted to their old setting of going off if you have anatomy that differs from the sex the TSA agent operating the scanner assigns you at a glance. But my main flying is between two airports in California, and there's a good chance their individual site captains(?) are going to tell them to just let someone through if they have that kind of genital or chest area anomaly instead of doing the pat-down they're "supposed" to. But anywhere else? Or if the individual agent is personally transphobic? Who knows.

im so tired so here's a recap of what trump did today summarized and probably incomplete because we are in super hell:

End birthright citizenship (a.k.a the 14th amendment)

Remove the legal existence of non-binary people

Withdraw from the world health organization

pardon jan 6 people

[wachtelspinat]

do you have any advice, resources or practices you recommend for making your art more expressive? I adore how you push expressions and body language, and the way it keeps its weight is phenomenal! I wanna learn how to do that, too!

hey thank you so much <3

one of the most important things that i've learned on my way and that i've kept in my mind ever since is what makani states in [this post] sometimes i go into a drawing and just try to construct it bit by bit, only to realize that the eyes don't fit the mouth etc... then i remember to treat it all as ONE expression and (second very important lesson incoming) i erase everything and start anew (i know it feels bad to just delete a sketch of a head (you don't have to delete it right away, you can always just take another layer) but believe me it not only saves you tons of time, you also learn more when you just start over from scratch. the thing i do is as follows, i keep the bad sketch open and try to figure out what i don't like about it, and put extra focus in those areas in the new sketch. like i think the eyes were too dull in the first try? the solution is to draw them open even wider, turn up that expression a nodge, try to "bend" it). i know this sounds exhausting, you might think isn't it easier to just try to fix the first sketch? i thought so too for many years, but believe me, if you don't like it, start a new one. you will always be amazed on how good it can turn out (and, as said before, the benefit of analyzing your own art and trying to figure out what went wrong and fixing it in a new attempt is HUGE.)

third thought on this is "don't be afraid to push the boundaries". like i grew up being a huge ren & stimpy fan as a kid, i love classic cartoons, i love exagerated expressions so much, eyes popping out, sweat drops flying around, over the top visualisation of feelings. that's my shit (pizza tower i'm looking at you). then on the other hand i also love things feeling palpable and real, hence the weird mix of my style i guess... what i want to say is: don't be afraid to push your expressions a bit. not only is it fun, with the right balance it really adds to it all (in regards of body language and facial expressions likewise).

and last but not least, so important: use references. i often take photos of myself doing weird gestures just to see how the mouth or the eyes would look like for a specific expression, how the nose wrinkles, how the shoulder come up when trying to visualize that someone is tense etc etc. use ref, please, not only photos but also drawings, try to figure out how other artists translate certain gestures in their art, how can you stylize this (everything ofc without copying directly from them... like for personal practice everything is cool and chill, but respect the rules of the artist community)

it is hard to pinpoint down how everything we do in our art lives comes down to what we draw at the end of the day, like everything i post, how it looks, is the result of almost 2 decades of drawing with a purpose, but i hope this helps a bit.

[dallasdrevis]

Info for The Incoming ICE Raids

Full disclosure, I only speak English and around a sliver or arabic and I myself am not an immigrant. I am just doing my best to compile information. Any additions or comments are welcome and appreciated.

First, remember this; DON'T PANIC.

(both of these infographics were found on this post.)

If you see ICE officer in your area, shout "La migra" and "ICE" as loud as you can to alert those around you.

Know Your Rights

We Have Rights is a website dedicated to educating about your rights in the event of an ICE encounter. From everything from documenting the presence of ICE officer, to responding when ICE is at your door, to even what to do when ICE detains you; this website has information to help in the form of short animated videos.

To every non-immigrant reading, PLEASE watch this video specifically. It contains incredibly important info of what to do when documenting an ICE arrest and this information 100% pertains and should be utilized by you.

We Have Rights also contains resources for creating an emergency plan here. The website is currently available in English, Spanish(Español), Arabic (العربية), Simplified Chinese (中文), Haitian Creole (Kreyól Ayisyen), Russian (РУССКИЙ), and Urdu (اردو).

I also found this page on the National Immigration Law Center's website. It thoroughly goes through what to do when encountering ICE in many situations in an easy to navigate article. It is available in Spanish(Español), Arabic (العربية), Simplified AND Traditional Chinese (中文/), Haitian Creole (Kreyól Ayisyen), Korean (한국어/조선어), Tagalog, And Vietnamese (tiếng Việt).

Know Your Local Hotlines

It is important that if you have information on an ongoing or approaching aggression being carried out by ICE that you report it to one of the many Rapid Response Network/Immigration Hotlines so they can spread the word and help support the community in response.

This list compiled at the National Network for Immigrant and Refugee Rights's website has a list of every hotline by state, every national hotline, hotlines for LGBTGIA+ Immigrants, Missing Migrant hotlines, region specific hotlines and more.

If you do not have a local hotline, I (as someone with zero experience or authority mind you) personally recommend reporting to United We Dream. United We Dream is a national hotline specifically focused on raid reports that can be reached at 1-844-363-1423 and texted at 877877. Photos, videos, and the most specific info possible are the most useful.

Miscellaneous Advice;

Never, EVER reveal the immigration status of ANYONE to an ICE officer.

It is important to know your rights; however, that doesn't mean ICE will respect them. In the event that your rights are being violated, assess the risk when deciding whether to comply or assert your rights.

From what I've seen, many things which apply to cops also apply to ICE. So, do not treat them any differently. They are not your friends, they will use any information you give them to incriminate and manipulate you.

Please take care of yourself. Spend time with friends and family, do things you love. No matter how bleak the world seems, there are thousands fighting for you and by your side. We will prevail.

[blue-howlite]

Hello Castlevania: Nocturne S2 ramble coming through! I just finished it half an hour ago and I'm going to make it everyone else's problem.

(Spoilers ahead! Both about Castlevania: Nocturne and the previous Castlevania sequence)

Specifically, I'm focusing on the shadowy entity we see in this season that Olrox calls "Old man coyote" and "Mephistopheles".

Because these two names are associated with tricksters kinda entities. So one would think "Oh, the Devil right?", like Mizrak did.

EXCEPT

Both Olrox and Juste didn't seem to believe it was the Devil. And when two of the oldest/with more life experience characters both seem dubious on something that otherwise looks pretty clear, usually it means there's more to it. Right? (Pretend I'm not going insane thankyou)

(Also, pay attention, saying "the Devil" and "a devil" isn't the same. The Devil, capital D, is the big bad of the Christian faith.)

Some people speculate this entity might be "Death" from the previous Castlevania continuity, the same that Trevor had killed.

Here's what bugs me. People call it Death, even though Trevor states clearly that the entity isn't Death itself. Which might sound weird if one isn't familiar with mythology! Unfortunately for all of you, I really like mythology and especially the death aspects of mythology.

So, why is "Death" not actually death? And if it isn't actual death, what is it?

Ever since I saw in Castlevania the scene where Trevor and Sypha come across the shrine dedicated to death, I thought the writers had decided to include the aspect of "keres".

"Howlite, what the fuck does keres mean?" GREAT QUESTION

"Keres" (singular, ker) is the name of the collective deities/personifications of violent and cruel death in Greek mythology. Sisters of Thanatos (god of death, though he's more precisely associated with non-violent death) and daughters of Nyx, they are described as women (usually depicted with dark wings) who would be present wherever blood was spilled.

HOWEVER: they did not hold the power to kill.

Which is why I thought it would be confirmed that the "Death" we see in S4 was a ker, since it didn't hold the power to kill on its own (it wanted to summon Dracula to do it), nor did it have any control on the afterlife (a ker isn't a ruler of the afterlife or its inhabitants), yet it demanded bloodshed.

And here is where ethymology comes in play!

Keres are more specifically considered "daemones", which in greek mythology loosely meant spirits who were not inherently good nor evil.

However, with the spreading of Christianism and the intervention of the Church to eradicate older religions, the term "daemon" was transformed into the modern "demon", which today means an evil entity whose purpose is to cause harm.

Now. Why is this important to us?

Because in Nocturne S2, Mizrak specifically seems to associate the dark entity to "the Devil". Orlox says it wasn't... however, what's close to the Devil, while also not being it? Demons, who are simply entities that the Church branded as evil because belonging to pagan religions. Sometimes, those demons were gods in their original setting, which would grant them a status on par with the (Christian) Devil. Anyway.

Demons.

Daemones.

Death daemones.

Death daemones that enjoy bloodshed.

Keres.

The train thought needs some oiling but it's not all conjecture.

Of course, Olrox specifically recognising our boogyeman as a malevolent trickster could be either to the sly nature of this ker (or possibly this collective of keres, since the shadow had a fluid, always changing shape, as if multiple entities were present at the same time), the way one would call an annoying, entitled woman "Karen", so to speak, OR due to his own biases, being unaware of what a ker is.

There's also a chance that in the Castlevania universe, the keres took many forms over the ages in order to survive. But this is already dipping into fanfiction world building/AU area.

Regardless, I am convinced that "Death" in the first Castlevania sequence was a ker. It makes sense, given the context clues and its objective.

For the entity in Castlevania: Nocturne jury is still out, it could be a ker but it could also be some other entity fucking around (and possibly finding out if we get a third season). Maybe they made up a general trickster guy that conforms both to North American native pantheon and Christian demonology and probably many other mythologies/religions.

However, given Olrox' life experience it could be his bias speaking, since he's likely unfamiliar with indo-european religions and belief systems; he knows of his own deities and those of other native american populations because he was born and raised there, living there until he came to Europe to kill Julia Belmont; he knows of Christianity because of the colonisers and it being the dominating religion in Europe at the time (and likely in America too by then). We don't see him talk much about Sekhmet or Egyptian culture either despite it being central to the story, which could further confirm this idea.

Adding to that, in CN it was clearly stated that "a god shouldn't cross into another's domain" (paraphrasing), so it would be a little contradictory to have Old man coyote and Mephistopheles being the same deity, despite belonging to completely different beliefs and separated populations. Also, small parenthesis, Mephistopheles wasn't even in the bible nor any of the Christian holy texts, he only appeared later in the legend of Faust and was from then used in following works of fiction and art as an archetype. Which... adds onto the "Olrox isn't an all knowing vampire and actually is affected by his own biases" theory.

Unless of course the CN writers have decided to disregard infernal entities' background entirely and just use them as "big bad evil guys"... which would be disappointing, but not surprising.

Anyway thank you for reading this, comment your thoughts (if you still have any and this word freight train didn't run your brains over, in which case I apologise; I struggle to words things clearly when I'm excited about them).

[millionsofbooks]

something about the tiktok ban that i haven't really seen people here talking about is the experience of tiktok users not from the usa, which was, as far as i can tell, on the whole, very positive. it was actually really nice to, for a short period of time, be on a major social media network and able to interact with people across the world without usamericans constantly inserting themselves into every conversation.

usamericans kind of take over people's fyp regardless of where you're from. this is partly to do with the fact that the creators fund is only available to usamericans so most of the shitty content farms are from the us. then there's also the cultural aspect of the fact that being a citizen of the most powerful empire in the world is a significant privilege, and also a privilege that 99% of usamericans are seemingly unable to acknowledge, plus the us centrism and exceptionalism, plus the constant need to cast themselves as the underdog, and, well. it's annoying.

so, like. everything of what i've seen (which is not to say that other opinions don't exist, just that i haven't seen them) is that it was really nice when the usamericans were gone, and it kind of sucks that they're back.

[arolesbianism]

Finally got around to designing this girlie! Her name is Compound, and she’s the leader of a goddess bless party of adventurers! Which is to say she is a huge suck up and absolutely unwilling to acknowledge that she and her party are completely and utterly unqualified for any of the missions they’re being thrown at

[luckyladylily]

So a few months ago there was the discourse about would you rather meet a man or a bear in the woods. I didn't want to touch it while the discourse was hot and everyone dug in hard because those are not good conditions for nuance, but I waited until today, June 1st, for a specific reason.

I'm not going to take a position in the bear vs man debate because I don't think it matters. What is really being asked here is how afraid are you of men? Specifically, unexpected men who are, perhaps, strange.

People have a lot of very real fear of men that comes from a lot of very real places. Back when I was first transitioning in 2015 and 2016, I decided to start presenting as a woman in public even though I did not pass in the slightest.

I live in a red state. I knew other trans women who had been attacked by men, raped by men. I knew I was taking a risk by putting myself out there. I was the only visibly trans person in the area of campus I frequented, and people made sure I never forgot that. Most were harmless enough and the worst I got from them was curious stares. Others were more aggressive, even the occasional threat. I had to avoid public bathrooms, of course, and always be aware of my surroundings.

I know how frightening it is to be alone at night while a pair of men are following behind you and not knowing if they are just going in the same direction or if they want to start something - made all the worse for the constant low level threat I had been living under for over a year by just being visibly trans in a place where many are openly hostile to queer people. You have to remember, this was at the height of the first wave of bathroom law discussions, a lot of people were very angry about trans women in particular. My daily life was terrifying at times. I was never the subject of direct violence, but I knew trans women who had been.

I want you to keep all that in mind.

So man or bear is really the question "how afraid of men are you?", and the question that logically follows is "What if there was a strange man at night in a deserted parking lot?" or "What if you were alone in an elevator with a man?" or "What if you met a strange man in the woman's bathroom?"

My state recently passed an anti trans bathroom bill. The rhetoric they used was about protecting women and children from "strange men", aka trans women.

Conservatives hijack fear for their bigoted agenda.

When I first started presenting as a woman the campus apartment complex was designed for young families. The buildings were in a large square with playgrounds in the center, and there were often children playing. I quickly noticed that when I took my daughter out to play, often several children would immediately stop what they were doing and run back inside. It didn't take me long to confirm that the parents were so afraid of "the strange man who wears skirts" that their children were under strict instructions to literally run away as soon as they saw me.

"How afraid are you of a strange man being near your children?"

I mentioned above that I had to avoid public bathrooms. This was not because of men. It was because of women who were so afraid of random men that they might get violent or call someone like the police to be violent for them if I ever accidentally presented myself in a way that could be interpreted as threatening, when my mere presence could be seen as a threat. If I was in the library studying and I realized that it was just me and one other woman I would get up and leave because she might decide that stranger danger was happening.

Your fear is real. Your fear might even come from lived experiences. None of that prevents the fact that your fear can be violent. Women's fear of men is one of the driving forces of transmisogyny because it is so easy to hijack. And it isn't just trans women. Other trans people experience this, and other queer people too. Racial minorities, homeless people, neurodivergent people, disabled people.

When you uncritically engage with questions like man or bear, when you uncritically validate a culture of reactive fear, you are paving the way for conservatives and bigots to push their agenda. And that is why I waited until pride month. You cannot engage and contribute to the culture of reactive fear without contributing to queerphobia of all varieties. The sensationalist culture of reactive fear is a serious queer issue, and everyone just forgot that for a week as they argued over man or bear. I'm not saying that "man" is the right answer. I am saying that uncritically engaging with such obvious click bait trading on reactive fear is a problem. Everyone fucked up.

It is not a moral failing to experience fear, but it is a moral responsibility to keep a handle on that fear and know how it might harm others.

[inmirova]

In an ideal world, it would be a program for Deaf teachers, the government could even put it under vocational rehab if they wanted to! Unfortunately, even some Deaf schools don't employ many Deaf teachers and a lot of teaching jobs end up going to interpreters or just hearing & non-signing people instead. But you're right and I love what you said, we can hope 🩷

idk man. i just think itd be really cool if sign language classes were mandatory throughout primary school. yeah because it would make communication with deaf kids and autistic/nonverbal kids much easier. and those kids would be accessible to the others so they cold make friends and have healthy relationships. yeah. and kids would eat that shit up man. like their own little secret language? they love that.

[chaoskirin]

I'm not gonna tell you how to vote, BUT...

Here are some truths about the upcoming United States election.

Either Trump or Biden will win.

Our political system is designed around ensuring that either the Democrat or the Republican win. There is no "but if everyone rallies around a third party candidate..." argument, because...

Grassroots campaigns can't work. There are areas of the country that don't have internet or television. Congress just allowed the Affordable Connectivity Program to lapse, denying internet to even more people. There is literally no way for some candidates to get their message to huge parts of the country.

The Republican and Democrat candidates are backed by huge donor machines that enable them to tour a campaign trail. Independent candidates do not have this luxury.

Our country still uses a First Past the Post (FPTP) voting system, which is specifically designed to support only two candidates.

Our country uses an electoral (all or none) system, which is why you hear that voting for a third party candidate "takes votes away" from one of the major party candidates. For example, if Trump gets 48,999 votes, Biden gets 50,000 votes, and a third party candidate gets one single vote, Biden takes all the electoral votes in the state. All of them.

I really hope you make your peace with this now. Please, vote how you want, but with one candidate saying he will essentially outlaw transgender people, I can't imagine NOT voting for the only other candidate who can possibly win. Right now the polls are 50/50, which is absolutely insane to me.

In my experience, it's usually younger people who talk about either voting their conscience, or not voting at all to "send a message." I assure you, not voting doesn't send a message to the candidate who loses. Your message is only received by the millions of Americans who will suffer as a result.

I don't want to argue. I have no desire to fight with anyone over this anymore. And if you want to ask me "so I have to choose between two killers?" as a gotcha, then I'm sorry to say... The answer is yes. Those are the choices we've been given. And because the United States is no longer a true democratic republic, there's not a whole lot we can do to change that right now.

[wild-at-mind]

A weird thing I've noticed as someone living in England is how often people also living in England seem convinced their lives will improve massively if they just move to Wales or Scotland. Or sometimes further afield.

[cripplecharacters]

Write more Deaf characters!

[Large Text: Write more Deaf characters!]

When answering questions about deaf and hard of hearing characters, I have noticed they are overwhelmingly about:

A character who is deaf in one ear or hard of hearing because of an accident

A character who was born deaf and knows sign language, but seems to have 0 connection to the broader Deaf community

This is not the experience of most d/Deaf people! So, here's your primer to Deaf community and culture, and writing a Deaf character, because they are sorely underrepresented.

(Disclaimer: this post was written using viewpoints I, a singular Deaf person in the United States, have encountered. I tried to make this as general as possible to encompass many Deaf views, but it is possible that I have misconstrued something. Do not take this guide as the be-all and end-all of your knowledge on Deaf culture. Keep reading and researching the Deaf community, and explore viewpoints from many different Deaf people of all backgrounds.)

Why do you write Deaf with capital D?

[Large Text: Why do you write Deaf with capital D?]

The term "deaf" with the lowercase d means not being able to hear. The term "Deaf" with an uppercase D refers to the cultural identity formed by deaf people. This identity is difficult to explain but it includes knowing sign language and engaging with other Deaf people.

There are varying opinions within the Deaf community on who is allowed to call themselves culturally Deaf. Some Deaf believe that only those who were born into the Deaf community (whose family is Deaf, who attended a Deaf school, and/or who have sign language as a first language) are allowed to consider themselves culturally Deaf. On the 'flip' side, some Deaf believe that anyone with hearing loss can claim the label. And of course, you can find someone Deaf with any opinion in between.

This is all intracommunity nuance. If your character is born deaf and learns sign language at a young age or as a first language, they are likely culturally Deaf.

Sign Language Use

[Large Text: Sign Language Use]

Sign languages are the language of Deaf communities. (Note that there are many sign languages in different regions, and they are not related in the same way spoken languages are!)

Most sign languages did not originate alongside spoken language, either, so they usually have different grammar than the spoken language in a region. This means that someone whose first language is sign may have difficulty learning even the written version of the spoken language due to the different grammar and translation. For native signers, the spoken language of their area is their second language.

Sign languages are fully developed languages, with grammar and structure. Sign language is not "less" than spoken language, and encouraging sign language does not discourage speech. (Even if it did, that's not a bad thing! Sign languages are still a valid and rich communication form!) Sign languages have slang and expressions/idioms too.

Sign languages typically have a "manual alphabet" otherwise known as "fingerspelling". This is a way to represent words that don't have a sign. Fluent signers very rarely fingerspell; normally fingerspelling is for proper nouns which don't have a name sign.

Name signs are the last big point I want to cover about sign language. A name sign is a way to refer to someone so you don't have to spell their name every time. It's usually related to someone's attributes, like dimples or a specific way of moving. Sign names can only be given by Deaf people who are fluent in sign language.

Deaf Education

[Large Text: Deaf Education]

For a long time, deaf people were considered unable to learn, just because they couldn't hear. And since 1880, for about 100 years and even still today, the prevailing tradition in deaf education was/is oralism--a teaching method based on speech that rejects sign language.

Historically speaking, if deaf children were to receive an education, they would be sent to a Deaf residential school. These still exist, although there are also many Deaf schools that are typical day schools, just for d/Deaf/hoh students.

Deaf children may also attend "mainstream" schools; they might have sign language interpreters and other accessibility accommodations, or they may be forced to rely on lipreading and context, or placed in special education where their needs often still are not met.

Oralism still has lasting effects today. Deaf people have received, and still do receive, worse education than hearing people.

One common problem is language deprivation. Many deaf children grow up without access to sign language. About 90% of deaf people are born to hearing parents; even if hearing parents do send their deaf kids to a Deaf school, they may not learn sign language themselves, so the child must rely on what they can gather of spoken language at home. Sign language is even discouraged by some audiologists and speech professionals, because it "might interfere with speech". But by depriving deaf children of sign language, more often than not, they are being deprived of all language.

People who are born deaf do not learn spoken language naturally, even when provided with aids like hearing aids and cochlear implants. Many deaf kids who learn speech learn it through extensive speech therapy, and often have a "deaf accent" from copying mouth shapes but not being able to hear or process what sounds they are making, which may also include having an atypically pitched voice (e.g., very high-pitched). Lip-reading is inaccurate and the best lip-readers can only follow about 30% of a conversation, and that's by intently watching with no breaks.

It is possible to learn a language at any age. But it is easiest to pick up a new language when one is young. Children who do not learn a first language by around age 5--the age at which they would start school--have more difficulty learning any language, and may have frequent outbursts or trouble expressing emotions as a result of communication difficulties.

Another problem, especially within the Deaf community, is literacy. Spoken languages are often unrelated to the signed language of the same region. Learning to read and write, as a Deaf child, is like learning a whole new separate language, with different grammar and structure than their native language. This is why captions are not a perfect accessibility tool--it is, for many Deaf people, being offered an alternative in their second language, if they have learned to read and write at all.

Deaf Culture Norms

[Large Text: Deaf Culture Norms]

To hearing people, Deaf conversation can seem very blunt and to the point. This isn't to say Deaf people are inexpressive--quite the opposite: sign languages often use facial expressions as part of the grammar, and there is a lot of expression that can be incorporated into a sign--but there isn't a lot of "talking around" things. You can see part of this culture in name signs, which are usually based off a trait of the person. It's not offensive--it's just how they're recognized!

Another conception is of Deaf people being over expressive, but again, that is just part of sign language grammar. Face and body movements take the place of tone of voice, as well as other grammatical clarifications.

Deaf people talk a lot! It's very hard to end a conversation, because there will always be something else to say or a new person to meet. Hugging and other physical touch are really common greetings.

Tapping people on the shoulder to get their attention is fine. Other ways include flicking the lights or rattling a surface (for vibrations). Eye contact while signing is also important to make known that you are listening. Groups of Deaf people will sit in a circle so everyone can see everyone else. It's rude to talk in a Deaf space. If you are lost in the conversation, you'd ask if you can write or type instead.

Deaf Space also refers to design concepts that are more accessible to deaf people. This includes good lighting, minimal signing-height visual obstacles (e.g., low waist-height shelves), visual indicators instead of bells, open spaces so people can sit in a circle to talk, and automatic doors and wide hallways/passages so it is easier to continue a conversation while walking.

It's also very rude to comment on a Deaf person's voice. Do not mention you're surprised they can speak. Do not call their accent "cute" or "weird" or anything like that. Do not ask them to speak. Do not say their voice sounds really good ("for a deaf person") or that you wouldn't be able to tell they are deaf.

Deaf Views on Deafness

[Large Text: Deaf Views on Deafness]

The Deaf community is incredibly proud of their Deafness. You'll often hear the phrases "hearing loss = deaf gain" or "failing a hearing test" as "passing the deaf test". Continuing the Deaf community and culture is highly valued, and learning sign language is encouraged for everyone.

Many people in the Deaf community dislike cochlear implants as their success is incredibly variable and they require invasive surgery and therapies from a young age. Another big argument against CI is that they are often presented as the only or the first option to hearing parents, who misunderstand CI as a "cure" and then do not give their child access to sign language.

Deaf people also reject any sort of cure for deafness, especially genetic therapies. Many Deaf people do not think of their Deafness as a disability.

(Deaf people will often point out the advantages of Deaf culture and sign language, such as being able to talk over long distances, through windows, and even underwater.)

Most hard of hearing and some deaf people have hearing aids, although it is really an individual choice whether or not to wear them. Many d/Deaf/hoh people are overwhelmed and startled very easily by noise (since they're not used to that much auditory input) and get tinnitus from auditory overstimulation. They may also struggle with auditory processing--locating sounds, interpreting sounds, recognizing and interpreting speech, and other issues.

The Deaf community doesn't have any general complaints about hearing aids, just many prefer not to wear them. Do know that they are an imperfect aid; they just amplify sound, which doesn't improve processing or understanding, and it doesn't make people hearing. Not everyone even benefits from hearing aids--their specific hearing levels may make hearing aids a bad choice of aid.

A big point you'll hear in Deaf spaces is Deaf Can (and Deaf Power). Hearing people have historically treated deafness as a sign of incapability, but Deaf people can do everything hearing people can--except hear.

Myth Busting

[Large Text: Myth Busting]

Myth #1: All Deaf people are completely deaf. This is very far from the truth! Most deaf people have some degree of residual hearing, although this may require very loud sounds and/or at very specific pitches. Plus, there are many culturally Deaf people who are not deaf/hoh at all--CODAs, hearing children born to Deaf parents, are part of the Deaf community.

Myth #2: (Non-speaking) Deaf people do not make noise. Also very far from the truth! First off, Deaf people laugh. Many Deaf people also vocalize without knowing or intending, especially when excited. We can get very loud!

Myth #3: (Speaking) Deaf people talk loudly. While this can be true, often d/Deaf people talk more quietly than expected. This is because with severe to profound levels of deafness, no speaking volume is really going to be audible, so they will often rely on feeling vibrations in their throat to know if they're making noise. Vibrations are detectable at lower volumes than hearing people like to listen to.

Myth #4: Deaf people can't drive. I actually have no idea where this one came from but it's false. Deaf people can absolutely drive, and tend to have a lower rate of accidents and violations than hearing drivers. There is a common trend of treating d/Deaf people like they can't do things unrelated to hearing, but deafness on its own only affects hearing.

Deaf Struggles in the Hearing World

[Large Text: Deaf Struggles in the Hearing World]

A huge problem is just basic accessibility. Many places do not have captions or visual indicators, or rely on hearing (like drive-throughs). Movie open caption screenings are often at awkward times, and caption glasses are hard to find or access and awkward to wear.

Deaf people are also at increased risk of police violence. Police often treat signing as aggression, rather than attempts to communicate. When they yell, talk quickly, or shine a flashlight in Deaf people's faces, it's even harder to understand what is going on. Deaf people are also not often provided with a qualified interpreter and may not understand what is going on or why they were arrested.

Deaf people, specifically those who are mainly kept in the hearing world, have higher rates of drug use and addiction.

Hearing people also treat Deaf people as incapable or lesser. Gallaudet University had only hearing presidents until 1988 after the Deaf President Now protests; then-chair of the board at GU said in a statement that received heavy backlash from the students, "deaf people cannot function in the hearing world".

When writing your Deaf character:

[Large Text: When writing your Deaf Character:]

Were they born to hearing parents or to Deaf parents? (90% of deaf children are born to hearing parents.) Is anyone else in the family d/Deaf?

At what age was their deafness noticed? (It can be at birth, or it can take several years, even for children born deaf.) Is their hearing loss progressive? Is their hearing loss significantly different in each ear?

Were they eligible for cochlear implants? Did they get CI? Did they get hearing aids? (Consider cost as a factor: CI requires the surgery as well as intensive speech therapy; hearing aids are also expensive and can need replacement and refitting.) How well do the aids work for them? Do they have them in one or both ears?

What advice did their family receive from audiologists and speech therapists about sign language and communication, and did their family listen? Did they learn sign language? At what age? Did their parents and family learn sign language? Are they language-deprived? Did they go through speech therapy? What is their speech like? Do they like using their voice?

Did or do they attend Deaf school? Is it residential or day school? If it's residential, did they understand what was happening when they were dropped off? Does the school use sign language or rely on oralism? (Consider time period; most schools now use sign language, but from 1880-about 1980 the predominant method was oralism.)

If they don't attend a Deaf school, what accommodations are they receiving in mainstream setting? Are they in special education? Are they in a Deaf program at a mainstream school? Do they have an interpreter? How much do they understand what is going on in class?

How involved are they in Deaf community and culture? Are their friends and family involved and supportive of the Deaf community? Do they treat deafness like something to cure? Do their friends and family frequently ignore or "forget" that they are deaf?

In general, consider their scenario, what ableism they've faced, and what their Deaf identity is.

Happy writing, and please continue to send in your questions!

Mod Rock

[star-anise]

Currently getting my socks clean blown off by Rethinking Narcissism, by Dr. Craig Malkin. Which I found, in a roundabout way, from this video on Midsommar, grief, and narcissism.

Tonight I woke up from a nap and accidentally took my morning meds, so I'm going to be up for a few hours because of the meth. In place of sleep, I'll try to roughly sum up some basic ideas proposed by the research the book is based on:

That traits of "narcissism" like entitlement, grandiosity, and feeling special are not inherently toxic. There are times and places they are appropriate and beneficial. If you show up at a hospital with a gunshot wound to the chest, you should not sit and wait to be seen after people with earaches and coughs. (Actually, medical systems are designed to prioritize people with more urgent needs, and you qualify under that system. You are special and are deserving of different treatment than those others, which is why making your needs known, even insisting on it if you're not listened to appropriately the first time, is an extremely good idea. It keeps you from bleeding to death on the floor, and keeps the hospital from getting its pants sued off by your heirs.)

It is more useful to view "narcissism" not as an inherent immutable personality trait, but as a cluster of coping mechanisms. As previously stated, there are times they are exactly the right coping mechanism for the job. However, people we call "narcissists" tend to cling to these ones even when they become detrimental to themselves and others, often because they lack other ways of regulating their emotions and getting their needs met. And that is something they can change, if a person is willing to put in sincere and difficult work. It is not usually fast change; it's a matter of years, not weeks. But a skillbuilding approach turned Borderline Personality Disorder from an immutable curse to a fully treatable (though not quickly treatable) condition, and there's a lot of hope that it can do the same for Narcissistic Personality Disorder.

Meanwhile, there's an opposite end to the narcissism spectrum, and it is also pathological and destructive to hang out there all the time. It's an aversion, or even a resistance, to expecting yourself or other people to treat your own feelings, thoughts, ideas, needs, or preferences as important. For Greek mythology reasons, its proposed name is Echoism.

Unfortunately, because most of the damage echoism does is, by its very nature, localized to its sufferer and their own personal relationships, its downsides aren't often talked about. In fact, it's often seen as an ideal moral state, a kind of altruism or saintliness everyone should strive for. As a pathological coping mechanism a person is trapped in, though, it's often more a fear-based reflex than a conscious and deliberate attempt to achieve some real and specific good. It's not actually as beneficial as being able to recognize your needs, desires, positive aspects, and areas of competence or excellence, and bring them forward in your relationships with other people and yourself.

To me this has all been a cross between a gut-punch and a cool, sweet drink of water. There have been other ways to describe echoism over the years, but this feels like the most concise and useful one I've seen in ages.

It specifically puts its pin down in the middle of the moral debate a lot of people struggle with—"What right do I have to put myself forward? What hope do I have of being seen and accepted? Isn't it better not to burden anybody else?"—and says that the problem is not feeling in touch with either side of the equation, but specifically, the inability to move from one part of the spectrum to another when it's merited by circumstances.

When I was a child, I thought Echoism was the answer. It was my ideal. I thought it was what would get me the love and acceptance I wanted, and would keep me safe from the pain of rejection or not being understood. I had no idea it would actually, in fact, be the primary cause of alienation and loneliness for the rest of my life.

Now I'm so deeply thankful I couldn't fully achieve it, in practical terms. As hard as I tried to erase myself, there were always things I loved too much to suppress. I still found ways to express and discover myself in the books I read, the stories I wrote, the intellectual work of school and the experience of pursuing hobbies I loved, my ambitions to be helpful even when they demanded I stop being selfless, and the relationships where I felt safe enough to experience love and acceptance even if I didn't think I deserved them.

There's this question I found a while back that echoed in my bones: Who am I allowed to be around you? Because that's what I felt like, as a child. If I wanted to engage with other people and minimize my risk of harm, it was my job to bend into a pretzel and fit the shape they wanted. And thank god, thank god, thank god, I couldn't fully do it. Despite everything, there were parts of me too strong and bright to lop off completely to get my arms and legs inside the carriage. I was able to take care of myself and let them grow in secret until I found social places I could let them out again. Despite myself, I found ways to grow and thrive, well beyond the trauma that said I shouldn't have.

[hoshifighting]

Producer!Woozi x Celebrity!Reader

— Synopsis: You and Woozi have admired each other's work for a long time. Now, he has the opportunity to produce an album with you. Working on an album for a worldwide artist like you brings him immense joy... and turn-ons. — WC: 4.8k — WARNINGS: Smut, studio sex (Universe Factory), oral (f.receiving), penetrative sex, unprotected sex, fingering, clit stimulation, g'spot stimulation, aftercare, reader fangirling over Woozi shirtless in Ruby's M/V mentioned.

Your name is splashed across big screens from Times Square to the Grammy Awards. Music didn't just enter your life; it crashed in, loud and powerful, sweeping you off your feet. It became your everything. 

You went from singing in front of millions of people to strumming your guitar alone in a poorly illuminated room, lost in your own world. Music was your passion, your escape, and your purpose all rolled into one.

With that passion came endless opportunities. You were constantly on the move, traveling from one country to another, meeting people you once only dreamed of being in the same room with. You found yourself breathing the same air as your idols, sharing stages with legends. 

Friendships blossomed, some fast and fleeting, others deep and lasting. The world knew your name. Your songs played in every state, on every continent, bridging gaps between different cultures and bringing people together.

Those cultures left a mark on you too. 

You soaked in the richness of each place, each new experience shaping your music and your perspective. You remembered your early days, the hunger for inspiration, the late-night searches for new artists. 

One night, you stumbled upon a webcam live stream with a bunch of boys in a neon green melona room. You laughed and loved watching them, their energy infectious even through a screen. You became a fan, following their journey as you built your own.

But here's the thing about being a superstar: time is never on your side. Your schedule was always packed, and despite being in contact with some of the Seventeen members through DMs and mentioning your admiration for them in interviews, meeting them in person was a challenge. You were in Seoul for a tour once, and they appeared on your show, but there was never enough time to truly connect.

Now, after years of hectic schedules and fleeting encounters, you finally had a moment to breathe. You were working on a new album, and for the first time in a long time, you had the opportunity to switch things up. Your usual producers were fantastic, but this time, something different was calling you. An opportunity was waiting in South Korea, and it had your heart racing with excitement.

You, your manager, and the company representing the group had been in talks for months, working out the details. The goal was clear: to collaborate with Woozi, the musical genius from Seventeen, on your new album. 

When your team informed Woozi that you had just arrived at HYBE, his palms began to sweat. He never imagined he’d get to work with someone of your caliber. The fact that you specifically wanted to work with him made it all the more surreal.

As you walked through the HYBE building, your assistant and one of the staff members gave you a tour. You were almost giddy with excitement. The walls were lined with photos and awards, the air buzzing with creativity. When you finally approached the recreation area and spotted Woozi, his cheeks turned a shade of red. He was nervous, but seeing you smile so brightly at the sight of him sent a sense of relief through his system. 

You were genuinely happy to see him.

As you step into the recreation area and see Woozi standing there, your cheeks flush a deep red. You can’t contain your excitement. "Woozi, I'm so happy to see you," you say, extending a hand, unsure if a hug would be appropriate.

He senses your shyness, and, in a moment of genuine openness, he breaks through his own reserve and gives you an awkward hug. It's brief and a bit clumsy, but it’s sincere. As you pull away, you swear this is the happiest moment of your life.

"I’ve admired your work for so long," you say, your eyes sparkling with genuine admiration. "Your music is incredible."

Woozi shakes his hands in front of him, a shy smile spreading across his face. His long hair swings slightly as he responds, "Oh, no, really, it’s nothing compared to what you’ve done. I'm honestly just honored to be here with you."

You laugh softly, feeling a bit more at ease. "Are you kidding? I still remember hearing your solo for the first time and just being blown away."

Woozi's cheeks tint pink as he looks down, scratching the back of his head. "Thank you, that means a lot coming from you. I remember when we all watched your first big performance. We were in our green room, and we were all just in awe."

You grin, recalling that exact moment you first saw them. "I remember that! I was so inspired by you guys. It’s amazing how things come full circle, isn’t it?"

He nods, his eyes meeting yours with shyness "It really is. I never thought I’d get the chance to work with someone I looked up to so much." Woozi chuckles softly, breaking the silence. "By the way, I saw your post on Twitter about wanting to visit the Universe Factory—my studio."

Your eyes widen in surprise, and you cover your face with your hands. "Oh my God, you guys see my tweets? Oh nooo!"

He laughs, a sound that's both comforting and infectious. "Yeah, they're hard to miss," he admits. "And I may have received a few screenshots of your reaction from 'Ruby'." 

You gasp, mortified as memories of your tweets flood back. You remember typing frantically about needing a defibrillator when Woozi appeared shirtless in the music video. "Oh no, those tweets. I can't believe you saw those."

He’s grinning. "It's okay, really. It was kind of sweet to be honest. We all had a good laugh about it."

Peeking through your fingers, you sigh. "Well, now that my embarrassment is out in the open, I guess it’s only up from here, right?"

Woozi grins, a twinkle in his eye. "Absolutely. Besides, it’s nice to know we have mutual fans of each other’s work. It makes this collaboration even more special."

You nod, recalling how your fanbase and Seventeen’s had always gotten along so well. “Our fans really hit it off, didn’t they? It’s like they’ve been rooting for this collaboration all along.”

Woozi smiles and gestures for you to follow him. “Come on, let me show you the Universe Factory.”

Walking into his studio, you’re immediately struck by how incredible it looks. Purple lights cast a calming glow over the space, and the view from the windows is breathtaking. Everything, from the colors to the high-tech equipment, is perfectly arranged. You can tell he put a lot of effort into making this place special.

“Wow, Woozi, this is amazing,” you say, your eyes wide with admiration. “I always saw photos of your studio, but in person, it’s even better.”

“Thanks, but it’s just a studio.” Woozi’s shy smile returns, but there’s a sparkle in his eyes. “I wanted it to be just right for when you got here. I spent the whole week cleaning and moving things around. Even used some scented sprays.”

You laugh, feeling a snugness in your chest. “You didn’t have to go through all that trouble for me, but I appreciate it.”

He shrugs, his smile widening. “I wanted everything to be perfect.”

Woozi shows you some of the instrumentals he’s been working on, and they’re incredible. The beats blend seamlessly with the lyrics you sent him, and you can already hear the potential for something amazing. He’s practically buzzing with enthusiasm to hear how your voice will mesh with his music.

“Let’s get you in the recording room,” Woozi says, leading you to the booth.

You put on the headphones and glance through the glass at Woozi in the control room. As you start warming up your voice, he watches with a small smile. You can see him scoffing lightly, clearly amused by your funny warm-up techniques.

He presses the intercom button. “I’m definitely going to use that later.”

You sulk playfully, giving him a pout. “Come on, don’t make fun of me.”

He laughs, the sound filling the control room. “Sorry, sorry. It’s just cute the way you warm up.”

Rolling your eyes but smiling, you turn your focus to the paper in front of you. Woozi cues up the beat, and you start with a rough draft, feeling your way through the melody. Even in this initial take, Woozi can’t help but feel impressed. Your voice is powerful, yet it fits perfectly with the track.

You glance up occasionally, catching Woozi’s eyes. He gives you a thumbs-up, his appreciation evident even through the glass. As you continue, you find yourself getting lost in the music, and Woozi’s focus never wavers. When you finish, you look up to see him grinning widely.

“That was just the warm-up?” he says, pressing the button again. “I’m really excited to hear the final version.”

You laugh, feeling a rush of confidence. “Yeah, just the warm-up. Wait till you hear the real thing.”

Woozi nods, eyes gleaming with joy. “I can’t wait. Let’s do this.”

You start to sing for real now, fully immersed in the music. The lyrics flow smoothly, and your voice dances effortlessly over the instrumentals. When it comes to a tricky melisma, you frown slightly, pausing to ask Woozi through the intercom;

"Which tone should I use for this part?"

Woozi, equally focused, listens intently as you demonstrate two different versions. Both sound amazing to him, and he takes a moment to think. He taps his chin thoughtfully before pressing the button. "Try the second one, but start a half-step higher and then slide down smoothly."

You nod, absorbing his suggestion. You take a deep breath and try it his way. The moment you hit that melisma, sliding down effortlessly, the note hangs in the air. Woozi’s eyes light up, and he gives you an enthusiastic thumbs-up from the control room.

As you're in the middle of recording, Soonyoung suddenly appears in the studio, his presence bringing an unexpected burst of energy. You catch sight of him through the glass and wave enthusiastically, a big smile spreading across your face. Soonyoung returns the gesture, his excitement palpable even from a distance. He settles on the couch behind Woozi, watching the two of you work with keen interest.

Woozi presses the intercom button and gives you a nod. "Try going a bit higher for the adlibs."

You nod and sing the section, hitting the high notes while looking at Woozi for confirmation. He listens intently, his gaze dark in focus. “You did so good. That was perfect.”

You can hear Soonyoung’s voice from the back. “He never praises us like that.”

Woozi turns in his chair, giving Soonyoung a deadly glare. 

Soonyoung, unphased, grins and stretches as he stands up. “Alright, alright. I know when I’m not wanted,” he says dramatically, walking toward the door. Just as he’s about to leave, he pauses and turns back. “But after you’re done recording, we’re taking you to dinner Y/N. No excuses.”

You give him thumbs up. Feeling the warmth of their camaraderie. Woozi shakes his head but smiles, turning back to you. 

“Ignore him. Let’s finish this up. You’re doing great.”

After skipping through some tracks, you find yourself sitting in Woozi's incredibly comfortable chair, fiddling with his equipment. The buttons, dials, and sliders are all so intriguing, and you can’t help but feel like a kid in a candy store, discovering new settings and features.

Woozi watches you from a few feet away, arms crossed, a smile playing on his lipsㄧHe knows you’re no stranger to studios and equalizers, but he loves seeing the joy in your eyes as you explore his setup like it’s the coolest thing in the worldㄧHe wonders if your producers ever let you have this much hands-on control.

“Hey, Woozi, how do you tweak the master mix settings here?” you ask, looking up from the console.

He steps forward, moving behind you. His arms come to rest on either side of the chair, effectively caging you in as he leans over to type on the keyboard. 

“You just need to go into this menu,” he says, his voice low and calm. He types swiftly, his fingers dancing over the keys. “Then, adjust the settings here. See?”

You nod, trying to focus on his explanation, but the closeness is overwhelming. You can feel the warmth of his body, his head so close to yours. 

It’s hard to concentrate when you’re not even breathing.

His voice is soft and steady, his breath warm on your skin. You watch his hands move expertly, typing commands and making adjustments with practiced ease. Your heart is pounding so loudly, you’re sure he can hear it.

“And here, you can add some reverb” he continues, “See how that changes the sound?”

No, not when he’s this near.

You nod, feeling a bit dazed. He tells you to try it yourself, and you reach for the adjustment, your hand hovering uncertainly over the controls. Woozi lets go of the mouse and places his hand over yours, guiding it to lower and raise the equalizer. His skin is soft and warm against yours, and the contact almost makes you melt on his chair.

“Like this,” he murmurs, gently moving your hand with his. “Just a little adjustment here and there.”

You can hardly concentrate on the settings, your mind fixated on the sensation of his hand over yours. 

You turn your face slightly toward his, and he looks at you, the proximity between you almost intolerable.

Your eyes lock, and for a moment, the world outside the studio fades away. His gaze is intense, filled with something that makes your breath catch in your throat. Woozi’s hand squeezes yours lightly.

You can feel your pulse quicken. His eyes flicker to your lips for a brief second before meeting your gaze again. The moment stretches, neither of you moves, both caught in the electric current that seems to have taken over the room.

Finally, Woozi clears his throat, breaking the spell but not the connection. "There," he says softly, his voice barely more than a whisper. "You’ve got it."

As you try to focus on adjusting the settings, Woozi leaves your hand on the side of yours, allowing you to make the changes yourself. You manage to make the adjustments, and as the sound fills the room, Woozi's voice breaks through the silence. "That's it. You're doing great." he praises.

You swear if he praises you again like that, you’re going to fucking wet his chair. You don’t even notice that you’re biting your bottom lip, too lost in the horniness.

Woozi’s words echo in your mind as you try to focus on the task at hand, but it's hard to concentrate with the way his body looks in the black shirt he's wearing. The fabric clings to him in all the right places, emphasizing his toned physique.

Every movement he makes with his hands, seems deliberate and calculated, and you can’t tear your eyes away.

You force yourself to push the distracting thoughts aside, but it's a losing battle.

Your gaze remains fixated on his hands as he places them on the border of the desk, supporting his body. His shoulders brush against the back of your head, and you can feel his presence looming over you. It’s as if he knows exactly what’s passing through your mind.

He brushes a hand over your shoulder, the sensation lingering even after he presses it between his hands in a gentle massage. You feel his lips tentatively brush against the corner of yours.

Caught off guard, you melt into his touch, your fingers intertwining with his as you lean into the kiss. His lips are soft against yours, a perfect match to the warmth of his touch. But when he catches you melting against his hand, he doesn't pull away. Instead, he turns the chair to face him, his hand sliding behind your neck to pull you closer.

His kiss deepens, and you respond eagerly, your hands sliding to each side of his face before tangling in his hair at the back of his neck. The kiss is desperate, as if you’ve both been holding back.

But when you finally break apart, gasping for breath, you realize that you can’t resist any longer. You get up from the chair, his hands desperately grab your waist, pulling your bodies together 

The way he holds your waist makes your tank top bunch up between his fingers, his palms feeling your belly's bare skin. You whimper against his lips, "Hmm, Woozi..."

He pulls back slightly, "Jihoon," he corrects gently, "Call me Jihoon."

Your stomach flutters at the intimacy of calling him by his real name. "Jihoon," you repeat softly, savoring the sound.

He smiles, a soft, almost shy smile that makes your heart skip a beat. Then he leans in again, kissing your cheek, your jaw, and your neck. Each touch of his lips sends you on cloud nine, making you arch against his chest, your hands gripping his bicep for support.

"Jihoon," you murmur again, the name feeling more natural on your lips each time.

His hands move up your sides, sliding under your tank top, his fingers warm against your skin. He pulls the fabric up, and you lift your arms, allowing him to remove it completely. The cool air of the studio contrasts with the heat of his touch, making your nipples harden.

He takes a moment to admire you, his eyes roaming over your body "You're beautiful," he whispers.

You blush, feeling a little shy under his gaze. "You too," you reply, reaching up to touch his face, your fingers tracing the lines of his jaw.

He smiles and pulls you closer, his lips finding yours once more. This kiss is deeper, more urgent, as if he's trying to pour all his feelings into it. You respond with equal fervor, your hands exploring the planes of his chest, and the muscles of his back.

Jihoon’s hands move to your waist again, his fingers brushing the waistband of your jeans. He pauses, looking at you for permission. You nod, your breath hitching in the process.

He unbuttons your jeans, sliding them down your hips and letting them pool at your feet. You step out of them, standing before him in just your underwear. He takes a moment to admire you again, his eyes dark with desire, a little hidden under his long bangs.

You reach for the hem of his shirt, lifting it up and over his head. He helps you, tossing it aside. Your hands explore his bare chest, feeling the warmth of his milky skin, the steady beat of his heart.

This time, his hands roam more freely, exploring every inch of your body. His touch is gentle, yet possessive, as if he's trying to memorize every curve, every contour. After all, he doesn't know when he'll be able to touch you like that again. That is, if there is a next time.

You respond in kind, your hands moving over his body, savoring the feel of his muscles flexing under your fingertips.

He guides you toward the couch, his lips never leaving yours. You lie down, pulling him with you, your bodies molding together perfectly. He kisses his way down your neck, your chest, his lips leaving a trail of saliva in their wake.

"Jihoon," you moan, your hands tangling in his hair as he takes one of your nipples into his mouth, sucking gently. The sensation numbs your mind, making you arch against him.

Jihoon makes you relax on his couch, but you suddenly become very aware when his fingers slide your panties to the side, moistening his fingers with your lubrication. He opens his eyes to watch you squirm as your pussy sucks his finger inside without effort. His cold finger fits perfectly inside you, and you can feel him teasing to put another one. You clap a hand over your mouth to stifle your moans.

He laughs softly, taking your hand off your mouth. "The studio is soundproof. You can moan as loud as you want."

You mentally thank him because with his fingers now perfectly entering and leaving you, a loud moan escapes your mouth, and the sound of your wet pussy isn't discreet. You're loving the intense gaze he has on you, like you're about to be devoured. He tries to kiss you, but you can only moan as he fingers you.

Jihoon curls his fingers on your g'spot, repeating the motion again and again. You let out a strangled moan, squirming under his touch. "Don't do that, or I'll mess up your sofa," you warn, your voice shaky with pleasure.

He looks at you from under his bangs, a mischievous glint in his eyes. "I don't care about the sofa," he murmurs, pressing a hand on your lower belly to intensify the curl of his fingers.

The added pressure makes you scream, "Please, please!"

Jihoon smirks, his fingers moving faster inside you. "Please what? Tell me what you need," he demands, his voice commanding.

"Please, Jihoon, I need more," you gasp, your body arching against his hand.

He leans in closer, his breath hot against your ear. "More of what? My fingers? My mouth?" he asks, his tone teasing.

"Both," you whimper, feeling desperate for more of his touch.

Jihoon chuckles, his lips brushing against your ear. "Greedy, aren't you? But I'll give you what you want," he promises, his fingers curling and pressing against your g'spot with relentless precision.

You cry out, your body trembling. "Jihoon, I'm going to—"

"Do it," he whispers, his calm raspy voice making you bite your bottom lip. "Come for me."

Your hands clutch at the couch as Jihoon's head moves from above you to between your legs. The moment his tongue touches your clit, you can't hold back, and you come almost immediately. 

He stops for a moment, just to admire the sight of you arching your back on his couch, his fingers deep inside you, all wet as you roll your hips on them, moaning in his studio, naked. He never thought it would happen, but he isn't complaining.

You discover he's stronger than you thought when he holds your hips down to keep you in place before he devours your pussy. You roll your eyes at the sensitivity and the sight of his fangs tickling your skin, making you giggle between moans. 

The scene is completely sinful. You prop yourself up on one elbow and hold his hair up to see his face, flushed but with closed eyes, all concentrated on giving you pleasure. You find it incredibly cute, and you can't help but praise him.

"Jihoon, you're doing so good," you murmur, your voice trembling. "You're so focused, it's amazing."

In response, he sucks your clit inside his mouth, making you pull his hair a little. He hisses softly, and you quickly apologize. "Sorry, I didn't mean to—"

He looks up at you, a playful glint in his eyes. "It's okay," he says, his voice slightly rough. "I like it."

You can't help but moan louder as he resumes his attention to your clit. His fingers continue their relentless rhythm inside you, and you feel the pressure building again.

"Jihoon, please," you gasp, your hips bucking against his hold.

You gasp, and Jihoon stops, making your head fall back as you whine, your orgasm interrupted. He kneels on the couch, lowering his sweatpants and underwear to his thighs. You shake your head, saying, "I want you to take it all off."

He smiles, obliged, then comes completely naked over you. You spread your legs for him, wide, and he slides his cock between your folds, eliciting a whine from you. Still supporting yourself on your elbow, you grab his hair, pulling it slightly, earning a moan from him.

As your tongues wrap around each other, his cock slides inside you, and you open your mouth in a silent moan, your back plopping on the couch. He moans at the sensation of your gummy walls wrapping his cock, sucking him in welcomely. He also smiles, finding your reaction endearing.

Jihoon rolls his hips slowly, letting you adjust to the fullness of his cock. The slow stimulation draws moans from your lips, and you gasp, "Not only do you make amazing music, but you fuck so damn good too."

Jihoon lets out a genuine laugh, his breath warm against your skin. He hides his face in the crook of your neck, so shy, and you pull him back, wanting to see his eyes. He glances at you, amusement shining in his gaze.

"You really know how to flatter a guy," he chuckles, his eyes crinkling at the corners.

You laugh with him, the sound mingling with the intimate atmosphere around you. "It's true," you say, your voice lighter. 

Jihoon shakes his head, still smiling, but the moment of levity shifts as he feels your walls tighten around him. His smile fades into a look of intense pleasure, his face contorts, and he starts to moan, the sound vibrating through you.

"Oh, God," he groans, his hips picking up a rhythm that makes your breath hitch. "You feel so good."

The sounds of skin slapping, your moans, and the low hum from the computer rendering the music become the backdrop to your intense session with Jihoon. Your breasts bounce with every thrust, and your hair spreads wildly across the couch. He can feel your wetness around his cock, spreading to his thighs and the couch. You brace yourself with one hand on the couch's arm, your lips plump and sensitive from the kisses and bites.

Jihoon closes his eyes, focusing solely on the sensation of your pussy. If he keeps looking at how much pleasure you're experiencing, he might come too soon. But you can already sense his cock throbbing inside you.

"Open your eyes," you urge him, catching on.

He opens them, sulking a bit, and you give him a devilish smile. You lick your fingers, sliding them down your body to circle your clit, doubling your pleasure and his. His mouth falls open at the sight.

"Fuck, nooo..." he mumbles, watching your every move.

You revel in the sight of his abs flexing, showing that his orgasm is near. Sensing his impending climax, Jihoon pulls out, giving himself a moment to regain control. When he's ready, he slides back in, making you arch your back and curl your toes, triggering your orgasm instead.

You smile at his audacity, and he grins, seeing that his tactic worked. "F-fuck you… I'm cumming, Jihoon," you warn, closing your eyes as the pleasure builds.

He speeds up his hips, making you stop breathing for a second before a deep moan escapes from your chest. You feel yourself clenching and unclenching around him, your body shuddering as you reach your peak. Panting hard, Jihoon pulls out just in time, spilling his cum on your belly as he strokes his cock. His body trembles, and his eyes lock with yours, his bangs falling over his forehead.

Jihoon takes a long look at your spent body, a satisfied smile spreading across his face. "How about a nap before dinner?" he suggests softly.

You close your eyes and nod, feeling the exhaustion settling in. "Right..." he murmurs, getting up from the couch.

You miss the warmth of his body immediately and let out a small whine. He chuckles, "I'm coming back," he assures you as he grabs a box of Kleenex and brings some tissues to clean you up. Gently, he wipes your belly and between your legs, his touch tender.

"I'm glad we finished some songs," he teases, his eyes twinkling. "You don't look like you could continue... at least not today."

You scoff, too tired to come up with a witty response. Jihoon starts dressing you, carefully slipping your top back on, your panties, and leaving your jeans off so you can nap comfortably. Once you're settled, he dresses himself quickly.

From the corner of the studio, he fetches a thin blanket draped over a poltrone. He covers you with it and then lays down beside you, pulling you close.

"You really wore me out," you murmur, a hint of amusement in your voice.

He grins, pressing a soft kiss to your forehead. "Likewise," he says. "But it was worth it."

You let out a contented sigh, feeling more relaxed than you had in a long time. "I can't wait to hear how the songs turn out," you confessed, your voice growing dreamier with each passing moment.

Jihoon hummed in agreement, his fingers resuming their soothing motions on your back. "Me too," he murmured. "But for now, let's just enjoy this."

And so you did. Wrapped in each other's arms, you drifted off into a peaceful sleep, you snuggle into him, the steady rhythm of his breathing lulling you towards sleep. 

[sayruq]

Dear President Biden and Vice President Harris, We are 99 American physicians, surgeons, nurse practitioners, nurses, and midwives who have volunteered in the Gaza Strip since October 7, 2023. Combined, we spent 254 weeks volunteering in Gaza’s hospitals and clinics. We worked with various nongovernmental organizations and the World Health Organization in hospitals and clinics throughout the Strip. In addition to our medical and surgical expertise, many of us have a public health background, as well as experience working in humanitarian and conflict zones, including Ukraine during the brutal Russian invasion. Some of us are veterans and reservists. We are a multifaith and multiethnic group. None of us support the horrors committed on October 7 by Palestinian armed groups and individuals in Israel.

We are among the only neutral observers who have been permitted to enter the Gaza Strip since October 7. Given our broad expertise and direct experience of working throughout Gaza we are uniquely positioned to comment on several matters of importance to our government as it decides whether to continue supporting Israel’s attack on, and siege of, the Gaza Strip. Specifically, we believe we are well positioned to comment on the massive human toll from Israel’s attack on Gaza, especially the toll it has taken on women and children.

This letter and the appendix show probative evidence that the human toll in Gaza since October is far higher than is understood in the United States. It is likely that the death toll from this conflict is already greater than 118,908, an astonishing 5.4% of Gaza’s population. Our government must act immediately to prevent an even worse catastrophe than what has already befallen the people of Gaza and Israel. A ceasefire must be imposed on the warring parties by withholding military support for Israel and supporting an international arms embargo on Israel and all Palestinian armed groups. We believe our government is obligated to do this, both under American law and International Humanitarian Law. We also believe it is the right thing to do.

With only marginal exceptions, everyone in Gaza is sick, injured, or both. This includes every national aid worker, every international volunteer, and probably every Israeli hostage: every man, woman, and child. While working in Gaza we saw widespread malnutrition in our patients and our Palestinian healthcare colleagues. Every one of us lost weight rapidly in Gaza despite having privileged access to food and having taken our own supplementary nutrient-dense food with us. We have photographic evidence of life-threatening malnutrition in our patients, especially children, that we are eager to share with you. Virtually every child under the age of five whom we encountered, both inside and outside of the hospital, had both a cough and watery diarrhea. We found cases of jaundice (indicating hepatitis A infection under such conditions) in nearly every room of the hospitals in which we served, and in many of our healthcare colleagues in Gaza. An astonishingly high percentage of our surgical incisions became infected from the combination of malnutrition, impossible operating conditions, lack of basic sanitation supplies such as soap, and lack of surgical supplies and medications, including antibiotics. Malnutrition led to widespread spontaneous abortions, underweight newborns, and an inability of new mothers to breastfeed. This left their newborns at high risk of death given the lack of access to potable water anywhere in Gaza. Many of those infants died. In Gaza we watched malnourished mothers feed their underweight newborns infant formula made with poisonous water. We can never forget that the world abandoned these innocent women and babies. We urge you to realize that epidemics are raging in Gaza. Israel’s continued, repeated displacement of the malnourished and sick population of Gaza, half of whom are children, to areas without running water or even toilets available is absolutely shocking. It was and remains guaranteed to result in widespread death from viral and bacterial diarrheal diseases and pneumonias, particularly in children under the age of five. Indeed, even the dreaded polio virus has reemerged in Gaza due to a combination of systematic destruction of the sanitation infrastructure, widespread malnutrition weakening immune systems, and young children having missed routine vaccinations for nearly an entire year. We worry that unknown thousands have already died from the lethal combination of malnutrition and disease, and that tens of thousands more will die in the coming months, especially with the onset of the winter rains in Gaza. Most of them will be young children. Children are universally considered innocents in armed conflict. However, every single signatory to this letter saw children in Gaza who suffered violence that must have been deliberately directed at them. Specifically, every one of us who worked in an emergency, intensive care, or surgical setting treated pre-teen children who were shot in the head or chest on a regular or even a daily basis. It is impossible that such widespread shooting of young children throughout Gaza, sustained over the course of an entire year is accidental or unknown to the highest Israeli civilian and military authorities.

[seilon]

why does my local city college have so many more course/program options than my local state college this fucking Sucks

[genderjester]

SIGH the state of finding therapy in this country.....