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jokeroutsubs · 2 months ago

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[📝ENG TRANSLATION] We spent a day with the band Joker Out with whom we talked about everything (including the new album)

Original article written by Tijana Čvorak for Vogue Adria, published 15.11.2024. English translation by IG marija_rocen, review by IG irenalemajic, @moonlvster, proofread by IG Gboleyn123.

Full article under the cut 👇

(Ph: Primož Lukežić)

It's Friday, late in the morning, my colleague Tesa and I met up at the agreed place, in the middle of the industrial zone. On one side there was a parking lot, and on the other an industrial hall and office buildings, a self-service laundromat, a small bar... And a blue metal door. Behind the door is the charming, cozy music studio of the band Joker Out, full of instruments, books and character. When we entered, a friendly voice greeted us from above, and when we looked up, we saw a smiling Jure Maček, the band's drummer, in the gallery.

We climbed the stairs to a platform with a fence, which was obviously the production chill corner of this studio. There were two sofas, a Biedermeier-style wooden table, which surely once graced a bourgeois living room from the 80s, and on the other side there was a table with a computer, an impressive screen and a small mixer. Delighted by the atmosphere and appearance of the studio, we learned from Jure that we're standing in a former garage and that, in addition to musical talent, he also has carpentry skills - because the wooden interior of the studio is actually the work of his hands.

(Ph: Mark Pirc)

Whether you're from this region or not, the media attention that Joker Out has been getting since performing at the Eurovision Song Contest has been hard to ignore. Since 2016, when they formed the band as teenagers, they have won several 'Zlata piščal' ('Golden Whistle') awards in the Artist and Newcomers categories and were nominated for a MAC Award for Best Regional Ex-Yu Rock Band. Their hit 'Carpe Diem' has a more than impressive 23 million streams on Spotify and is the third most popular Eurovision song. I remember when they performed in my town last summer, just a few hundred metres from my house, so I could listen to them with a glass of wine on the terrace. Even though I wasn't standing in front of the stage, I could feel the contagious energy they were spreading, and the singing and cheers of the audience seemed even louder and filled with euphoria.

While I was preparing for the interview, I found out that Joker Out are also popular beyond the borders of our region - at concerts abroad, the audience sings songs with them in the Slovenian language. Furthermore, I discovered that the release of their new music video for the song 'Bluza' was scheduled on the day of our interview. "Yes, exactly," Jure confirmed to me, "let's wait for the others, then we'll watch it together." Soon the other members of the band arrived, some visibly disheveled and sleepless, because the editing of the video lasted until late at night. By the time we all impatiently looked at the monitor, waiting for the new video to be displayed, it had already collected 6,000 views in just a few hours, while the song 'Bluza', since it was released on streaming services, had already reached more than half a million streams. 'Bluza' is one of the singles from the new album 'Souvenir Pop', which is being released today and it represents a sort of a musical diary of the past year and a half of their lives, from the performance at the Eurovision Song Contest onwards.

"The inspiration for the album were the events from the tour, love stories, even global geopolitical topics," laughs Bojan. "All the reflections and deliberations that happened to us in the past year and a half." They say that the new album differs from the previous ones primarily due to the fact that it's sonically much more diverse and richer with instruments.

"Apart from those usual clichés - the whole album is more mature, we've developed the sound and so on - with this album we didn't strictly stick to our own instruments, but rather experimented and explored with different instruments", Kris Guštin, the band's guitarist describes for us. On this album, for the first time, they recorded about half of the songs with Jan on keyboards. "And the lyrics are darker this time, more gloomy than on 'Demoni', so we went one step further there as well." Bojan adds that on this album, for the first time, they recorded songs written in three languages - Slovenian, English and Serbian.

(Ph: Vita Orehek)

We asked him if he could single out any advantages or differences in writing songs in different languages, and he tells us that the language of a song is often dictated by the inspiration itself. "The story already comes with its own language and I don't like changing the songs just because they should be in another language. I don't want to adapt or distort the story as it is." He also discovered that he has different attitudes towards himself in different languages. For example, in Serbian, he says, he can be the most honest when he writes about love, while for the song 'Everybody's Waiting' in English, it's easier for him to be open and honest with himself about unpleasant feelings. On the other hand, it's most natural for him to talk about world and political topics in Slovenian.

The process of creating the album was described to us by bassist Nace Jordan: "The album actually started with the Eurovision song 'Carpe Diem', and after Eurovision and the tour, we moved to London for two months in January this year, looking for new inspiration for the future album. After the tour finished, we spent six weeks in two studios and finished the album with our producer Žarko Pak." Kris, for example, is most looking forward to performing the eighth song from the album 'Mesto duhov' ('City of Ghosts'), because the song contains many unpredictable moments. "I can't wait to hear it and perform it live on stage and see the reactions of the audience who will see it for the first time," he says. "Wow. I haven't even thought about that", Bojan comments. "I have," Nace and Kris answer in unison. We asked them what exactly they thought. "The song is actually a kind of psychosis, where the lyrical subject jumps from a very aggressive and melancholic state to a pompous, almost post-mortem atmosphere," explains Kris. "It seems almost like a funeral song that constantly jumps between the stanza and the chorus, changing the sound image, the tempo, the atmosphere, and, in fact, the whole attitude of the song."

"Not only is it fun to play, but it will also be challenging to practise." When asked which song gave them the most problems, they all unanimously agreed: 'Šta bih ja'. "It's a song that requires a precise fit of all elements, otherwise the song simply doesn't work," Bojan explains. "We couldn't find the formula to arrange all the elements correctly and we were searching for a solution for a long time." "We recorded it more than 130 times", Nace adds. "We're still not sure if it's a slow or dance song," adds Kris, and the guys laugh in agreement. "One or two attempts are usually enough for us - just right", Bojan concludes.

(Ph: Vita Orehek)

When asked about how they developed and changed as artists over time, Bojan smiled and immediately handed the microphone to Jan Peteh: "You can start, keyboard player." Jan, the band's guitarist, continued and explained how, during the recording of one of the songs from the album, 'Everybody's Waiting', they found themselves at a standstill with the arrangement, unsure in which direction they should proceed. But thanks to Žarko's solution, everything fell into place. Jure improvised on the drums on the verse "What a wonderful life", and Jan complemented him by playing electric keyboards. "We connected a Rhodes keyboard to the amplifier and since then, in fact, I've been playing both keyboards and synthesizers in our songs," Jan concludes. "Don't be so modest", Bojan adds and continues: "Actually, it was discovered completely by chance that Jan is also extremely talented on keyboards, which delighted us all. Even our producer Žare was impressed by Jan's approach to playing an electric keyboard, which doesn't happen often. Jan proved to be a great instrumentalist.”

If they could choose with whom to have their dream-collab musical collaboration, with any musician, living or dead, from our region or beyond, Jure would choose Dire Straits. The boys exchanged glances and agreed to choose a band together. At Nace's "Ready, set, go", they say "Buč Kesidi" in unison. "It would be great if we could collaborate with them," adds Kris. And I have to admit that I agree - that would certainly be their dream musical collaboration.

Since we learned all about their plans for the future, we were interested in what they remembered from the past. For example, memories of the craziest concerts that will remain in their memory forever. Jure recalls their performance at Belgrade Beer Festival. Before that, they had already visited Serbia, "but this was the first time after the performance at the Eurovision Song Contest. Even before we went on stage, we heard the crowd chanting "Joker Out" behind us. I couldn't believe what was happening. I think it was one of the best concerts.” Jan continues and highlights the Ruisrock festival in Finland and the Summer Well festival in Romania. "At both of them, we were also greeted with loud chants by an audience of approximately 8,000 people," he tells us, while the other band members nod their heads in confirmation. Kris also adds the performance at Exit festival in Novi Sad and recalls the feeling while watching the footage of that concert: "It's a particularly strange feeling when you see that endless sea of people, which you're not even aware of while you're on stage." "Yes." Jure agrees, "Some concerts really knock you off your feet. That was one of those." Bojan recalls another one: "For me, it was crazy at Wkrwglca in Sežana." The others join in laughing. They start listing who they were performing with that night. "MRFY, VAZZ live, Jet Black Diamonds... there were several Slovenian performers who we met again and the audience was really warm", Bojan recalls. "I felt like I was at one of those nostalgic college parties from the 80s that our parents used to tell us about."

(Photo: Vita Orehek)

We finally got to the topic of fans, and as soon as we asked if they could share any interesting or crazy fan-related stories with us, the guys went quiet and thoughtful. "People ask this all the time, and we still don't have the right answer," Kris notes, which prompts laughter from the others. We learn that they're always met by fans at the airport in Finland, where they have quite a large fanbase, and how much that means to them. Then, completely casually, they mentioned the voodoo dolls they had received as gifts. Tesa and I just looked at each other, we had to find out more. "They made dolls of all the band members in our Eurovision outfits. We actually got them twice, but they were only presented as voodoo dolls the first time," Kris explains with a laugh. Some band members still keep their dolls safe at home, while Kris, for example, doesn't even know where his is.

While they tell us about events from the concerts, like the one where Bojan's jacket was stolen or where they had a backstage in the middle of the forest marked only by tape around the trees, Tesa and I wonder if there is anything that fans still don't know about the band. There's silence again, and I can almost see them jogging their memories with serious expressions. Then they remember - they don't like making music videos.

Namely, it always happens by chance that they shoot music videos in winter, and in rooms without heating. Or, let's say, the fact that Kris has a talent for finding trashy music, or as Bojan calls him - "the best music editor for trashy music". Surely even the most loyal fans don't know that if they were to choose a name now, it definitely wouldn't be Joker Out. Some members of the band don't like the name at all, and Kris adds that it calms him down that his father doesn't like his band's name either, so they almost comfort each other by listing bands they know have a similar story with the name. Speaking of the name of the band itself, we were interested in how the name Joker Out came about. Kris starts the story and explains that it all started in a group chat where everyone actually met, and of course, at some point, like every band, they needed a name. Someone suggested the word "Joker". Since that word was not enough, they also added "Out". The proposal received three likes and the name stuck. Bojan continues: "I remember we were thinking then - if Ota Roš says our name in Pop In and if it sounds good, then it's the right name."

(Photo: Vita Orehek)

Through talking and evoking memories, we've gone way back, to the time before Joker Out was created. At the age of eleven, Bojan was in his first band called No Name, which lasted only a few weeks and played only one song, 'Tears in Heaven'. After that, he was in the band Apokalipsa, which disbanded when, as he says, he "stole" Jan and Nace¹ from other bands, and that's how Joker Out was born.

¹There has been a mistake in the original article. This should say: “Bojan "stole" Jan and Kris from other bands”, not Nace as originally mentioned.

If they had to single out their favourite or most important moment in their entire career, Jan would choose their first concert at Cvetličarna, because it seemed to him that it was then that he felt the turning point in the band's recognition for the first time. It was their first big solo concert, two in a row, both sold out. "Even if we played at Madison Square Garden now, I don't know if it would be as big a step forward as it was then. I don't think I'll ever experience that kind of adrenaline again." Nace points out that the breakthrough moment for him was the concert in Dublin, when they performed abroad for the first time and the audience sang the lyrics along with them. Jure, on the other hand, says that he will never forget the moment of entering the Eurovision final, when everyone sat together on the couch and nervously waited for the result. There was only one spot left when they were announced as finalists and the name Joker Out appeared on the screen.

Kris concludes that he could hardly single out just one moment, because the whole of the year 2023, along with the experience of Eurovision and the European tour, was the best year of his life. Bojan follows up on Jan's words and says that the concert in Cvetličarna was also a turning point for him: "I have never felt such sincere and pure happiness as after that concert, when I cried continuously for at least 45 minutes. I simply broke down under the weight of all the emotions; all the people I love the most were there with me and then, maybe for the first and last time, I felt like the best thing in my life had just happened. Then I also announced a concert at Stožice, which really came true."

(Photo: Vita Orehek)

I can't help but try to imagine what they were like almost ten years ago when they formed the band, thinking about what they wanted to play and what messages their lyrics would convey. Whenever I have the chance to look at young people full of enthusiasm, who really love what they do, I root for them inside. And that is even more powerful when I see how much they have succeeded. There's no doubt that Joker Out have come a long way, and who knows, maybe a very difficult way to get to where they are today. They're currently the most popular Slovenian band, whose songs are sung by fans all over Europe, posting covers of their hits or interpretations of their songs in their own languages on TikTok. If there's anything left of those teenagers, it's the positive energy between them, mutual jokes, contagious laughter and sincere friendship.

Also, they've kept that modesty which you can feel when they talk about their successes and milestones in their careers and the respect they have for each other and for their work. At the same time, I can't help but imagine where else their musical path will take them. With their music and visual presence, they are undoubtedly the messengers of their generation, and the feeling that great milestones, successes and endeavors are ahead of them is almost palpable. Therefore, I can only congratulate the guys on all their achievements and the new album and wish them a big – Carpe Diem!

(Photo: Vita Orehek)

#joker out #jokeroutsubs #bojan cvjetićanin #bojan cvjeticanin #jan peteh #nace jordan #kris guštin #kris gustin #jure macek #jure maček #source: vogue adria #year: 2024 #og language: serbian #og language: slovenian #og language: croatian #jo: all members #type: article

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txttletale · 2 years ago

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I was a member of a trotskyist organization for about a year, before I left due to life circumstances. I was a left-liberal before, and this group radicalized me. they were staunchly anti-ml, anti-anarchist, and i have been considering the org as perhaps not quite so good, especially since i find myself agreeing with all that you have to say. if it contributes to having a nice time on the computer, i would like to hear your criticisms of trotskyism and/or modern trotskyist orgs?

alright so i have a few different critiques of trotskyism and trotskyists--both theoretical and practical. the primary theoretical critique i have based on trotsky's own writings is that the idea of 'permanent revolution' is completely idealistic nonsense. it rests on incorrect assertions that marx & engels made about the global nature of socialist revolution--assertions that were already visibly incorrect when trotsky was pushing the theory of permanent revolution, not just with the benefit of hindsight. ironically, a lot of the things about the USSR that trotskyists love to criticise the most (the process of collectivization, socialist adventurist interventions) are things that trotsky was the fiercest advocate of all for!

i also think in practice a lot of trotskyite organizations in the imperial core--having defined themselves in huge part by their opposition to the USSR--have historically served as useful stooges for imperialist interests. whether they like it or not, the more energy they dedicate to their public and vocal criticisms (however correct, mind!) of socialist states, the more amenable and compatible and non-threatening their positions become to imperialist hegemony. this is (imo) even sillier in the present day, after the tragic¹ dissolution of the USSR; trotskyite tendencies are positioning themselves against something which no longer functionally exists as a global political force. relitigating the Evils of Stalinism (as a matter of political line and not as a productive conversation about what modern socialist movements can learn from the failures of the USSR) seventy years after the fact is a political project founded on shadowboxing.

finally, in my personal experience, i have found that trotskyist orgs are much more sectarian and unwilling to work or communicate cross-tendency than anarchist or ML orgs. again--this is partially because a lot of 'trotskyism', especially in the modern day, has less to do with anything that trotsky wrote or did and more to do with performative rejection of the USSR (which, i cannot stress enough, no longer exists!). but like, i've seen more ML-anarchist cooperation in actual organizing on the ground than i've seen trotskyist cooperation with either of those tendencies. a lot of the major ones i've had any experience with also tend to have longstanding and entrenched organizational issues.

tldr: permanent revolution is a silly idea, trotskyist orgs have tended to align with imperialist foreign policy, modern trotskyist orgs tend to be hypersectarian newspaper sale platforms with entrenched leadership issues

¹ i'm still planning to make a full post about this at some point but you do not have to be a late Soviet apologist or a marxist-leninist or even a socialist to recognise that the collapse of the USSR and the resulting period of shock therapy caused mass amounts of human suffering and tragedy btw.

#ask #no disrespect to my like 3 trotskyist follows i believe in left unity n all i've just had bad experiences #and am critical of the theory and movement

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odinsblog · 2 years ago

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First Apartheid Clyde helped authoritarian governments spread known propaganda, and now he’s ratting out civilians, dissidents and journalists.

The company has not refused a single request since Musk took ownership, according to self-reported data. Before Musk, Twitter's full compliance rate hovered around 50%; since the takeover, it is over 80%.

It’s been exactly six months since Elon Musk took over Twitter, promising a new era of free speech and independence from political bias. But Twitter’s self-reported data shows that, under Musk, the company has complied with hundreds more government orders for censorship or surveillance — especially in countries such as Turkey and India.

The orders vary widely in scope and subject, but all involve a government asking Twitter to either remove content or reveal information about a user. In one case from January, India’s information ministry ordered Twitter to take down all posts sharing footage from a BBC documentary on Prime Minister Narendra Modi. Dozens of posts were removed, including one from a local member of parliament.

Most requests came from a handful of countries

Turkey, Germany and India have sent the most requests since Musk took ownership of Twitter on October 27th, 2022.

Under previous ownership, Twitter actively resisted requests from many of these same regimes. For two weeks in 2014, the platform was banned from Turkey, in part due to its refusal to globally block a post accusing a former government official of corruption. (The executive who led that charge was Vijaya Gadde, one of the first executives fired after Musk took over.)

In July 2022, the company sued the Indian government over an order to restrict the visibility of specific tweets. After Musk’s takeover, however, Twitter complied with more than 100 block orders from the country, including those against journalists, foreign politicians, and the poet Rupi Kaur.

(continue reading)

#politics #elon musk #twitter #techno grifters #cryptobros #freedom of speech #misinformation #disinformation #apartheid clyde

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fanhackers · 6 months ago

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Platforms and Fan Experiences

This week, I’ve been thinking a lot about platforms and the way in which they influence fan experiences. As a consistent lurker, I have been on Tumblr for more than a decade, and more recently on Twitter for the past few months, and have been reflecting on my experiences of fandom on both platforms.

In a roundtable discussion published in a tumblr book: platform and cultures, speakers Flourish Klink, Rukmini Pande, Zina Hutton, Lori Morimoto and Allison McCracken discuss the ways in which Tumblr is a very visual platform:

Klink: Tumblr fandoms tend to be much more visual than other fandoms. I often find that this is the most difficult part of Tumblr for people who are not familiar with it. The visual languages in play on Tumblr are as meaningful and complex as any slang or textual interactions on Twitter… Klink, Flourish, Rukmini Pande, Zina Hutton, Lori Morimoto, and Allison McCracken. “A Roundtable Discussion about the Cultures of Fandom on Tumblr.” In A Tumblr Book: Platform and Cultures, edited by Allison McCracken, Alexander Cho, Louisa Stein, and Indira Neill Hoch, 167–80. University of Michigan Press, 2020. http://www.jstor.org/stable/10.3998/mpub.11537055.23.

I find this particularly interesting—and also ironic, in some ways—given that to me, as both a lurker, and a Fandom Old, the draw of Tumblr is that, while it may be a visual platform, it is not necessarily a visible platform, particularly in comparison to Twitter. There’s little chance of the celebrity you’re writing RPF about coming across your racy post or interacting with you directly.

In the same discussion, they go on to talk about the ways in which Tumblr’s visual culture has often led to progressive politics and practices, like race/genderbending.

Hutton: …One of my favorite things about being on Tumblr is seeing the way that members of the fandoms I’ve been in— primarily the DC and Marvel fandoms—reimagine their favorite characters as characters of color and give them queer and gender identities that match theirs. You can see photosets reimagining the Batman family group as more visibly diverse, and fancasts ( fans re-casting roles with actors of their choosing) of Marvel superheroes where they’re portrayed as women of color. And these fancasts generally push back against the idea of whiteness as a perpetual default. Klink, Flourish, Rukmini Pande, Zina Hutton, Lori Morimoto, and Allison McCracken. “A Roundtable Discussion about the Cultures of Fandom on Tumblr.” In A Tumblr Book: Platform and Cultures, edited by Allison McCracken, Alexander Cho, Louisa Stein, and Indira Neill Hoch, 167–80. University of Michigan Press, 2020. http://www.jstor.org/stable/10.3998/mpub.11537055.23.

While Hutton also points out the ways in which a lot of it can turn into clickbait activism, later on in the discussion, without truly engaging with what it means to racebend a character beyond simply making a visual edit, it’s Pande’s comment about interacting with white fans that echoes my own experience:

Pande: When I first came on Tumblr for instance, I mainly followed people I knew from LiveJournal and “Big Name Fans” whose writing I had followed in previous fandoms. This resulted in my Dashboard being filled with almost exclusively white-dude content. In retrospect this is not surprising, but the visual-ness of Tumblr made it particularly apparent, especially post-Racefail at a moment in fandom in 2009–10, when POC fans had started becoming more vocal about this whiteness. Klink, Flourish, Rukmini Pande, Zina Hutton, Lori Morimoto, and Allison McCracken. “A Roundtable Discussion about the Cultures of Fandom on Tumblr.” In A Tumblr Book: Platform and Cultures, edited by Allison McCracken, Alexander Cho, Louisa Stein, and Indira Neill Hoch, 167–80. University of Michigan Press, 2020. http://www.jstor.org/stable/10.3998/mpub.11537055.23.

As a PoC fan myself from the Global South, particularly one that does more lurking than posting, I often find that Tumblr does not always have the kind of linguistic inclusivity or even fandom inclusivity I am looking for. Perhaps it’s that I am a lurker, or perhaps I am not looking in the right spaces. Whatever the reason, I find Twitter has more of that inclusivity; whether I am looking for a fellow Hindi-soap opera fan, or a Supernatural fan, I can find both. And depending on which platform I choose, the content I make/consume differs—not just in form, but also in language and meaning.

What do you think? How has your platform shaped your fandom experience?

#fanhackers #fandom #platforms #twitter #tumblr #roundtable #author: Shayms

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chevvy-yates · 1 year ago

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[NC_RES]_27022048-NCA steyr_v_portraits_030_CS.file ///core:_vijay_steyr.file\\\

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⚠️ READ: Please do not repost/reupload any of my art here or to any other platform, or I will be forced to do anything to get it annihilated. Rogue cyberspace jacket by @pinkyjulien. The Witch pose pack by @busyvampire.

—

For a long long while I've wanted to shoot pics of how I see Vijay as a netrunner in cyberspace or how I imagine a Cyberpunk 2077 cyberspace interface in his style could look.

More under the cut. Beware you may read how my head breaks into pieces as I try hard to understand Cyberpunk's netrunning world lore. I copy pasted some texts from lore books about netrunning because I lack in explainging by myself — so if you're interested, there you go:

First I thought about making the background black, like how it's in the game when you stand in front of the blackwall or talk to Alt. But somehow that isn't it for me.

I've read a while ago netrunners can program their cyberdecks I-G interfaces with a so called 'CREATOR' program that makes netspace like the netrunner wants or has to imagine it.

"There are two other programs on a cyberdeck. One is the Operating System: a program that listens to the instructions the Netrunner thinks to it and obeys his commends. The other is the CREATOR virtual reality system, which is really a complex drawing program that tells the I-G that “when you get this signal from the Net, show the guy this image instead of the one he normally would see.” Our small and stupid computer also has a capacious memory; it can store and run various programs (as directed by its owner), and it also has a huge library of images that both CREATOR and the I-G interface draw upon to interpret what the Netrunner sees while in Netspace. […] By activating the Creator drawing program hardwired into his cyberdeck, the runner is basically modifying the deck‘s basic I-G interface program. First, a background is selected from a huge database of backgrounds, then modified by using simple controls to adjust color, shading and texture. Then the 3-D objects are selected from another database of objects scanned from real life, then stored in a compressed, high-resolution form. The objects can be decompressed and “assembled” into virtual reality on four different levels of resolution. When a runner saves a program, he is saving all the instructions for redrawing the virtual reality he’s created. Anyone entering the Virtual (either where it is stored on the runner’s cyberdeck or in another system) automatically activates the picture and causes the cyberdeck or computer to reconstruct it."

— Rache Bartmoss' Guide to the Net – The Cyberpunk Sourcebook for the Global Computer Net

I'm honest, I'm having a hard time to understand the netrunning world as decribed in the lorebooks. Somehow it always ends same for me like when I watch documentations about the universe expansion, dark matter and supermassive black holes for too long: my head hurts, I have too many questions and I think I'm the dumbest being on the planet. lol

But this gave me basically the idea to make it look like it looks now in the pics, so I imagined maybe Vijay programs it so that it looks like how he wants it. But if he enters other parts of cyberspace he may not have an influence on it as it changes into a different interface if I understood it right.

Anyways, I took a behind the scenes shot this time if you are interested how my 'set' looked. It was very experimental. Who needs a photostudio? x)

By the Way:

The glowing balls visibly in his hands or next to him stand for an anti-system program named 'Cascade II' Vijay uses. Lorebook says this:

"Cascade is not a daemon, bearing more in common with Virazz and Viral 15. lt can only be used against a system CPU. When used, it overwrites system code, causing the CPU to switch programs at random. Every turn there's a 2 in 10 chance that whatever program the runner has encountered will change to something else at random-files might switch to ICE, ICE to system controllers, etc. Anything is possible! lf used against a cyberdeck, the deck chooses a new program at random to run each turn. Cascade can only be stopped by preventing it from reaching the CPU, or by dumping the system code and reloading it ICON: A floating ball of energy."

— Rache Bartmoss' Brainware Blowout – The Hardware and Software Compendium for Cyberpunk

Most of the netrunning stuff will stay a mysterium forever for me and I get why netrunning in the game is made that simple as it is. You simply cannot transfer this massive cyberspace stuff into a videogame. I imagine that e.g. Night City would have to be entirely rebuilt as cyberspace with changing interface virtual realities – everything needs an icon, has code gates, data walls, all kinds of watch dog programs and so on. There's like terrabites of programs runners use. From what I undestood is the quickhacks used in the game do invade other runner's and machine's MicroNets and we basically see it only happen in the real world because we do not see a runners cyberspace window. They are described like this:

"While The Net is a global community exploring everything fit for man and beast, a microNet is a pinched-off part of cyberspace all to itself with very small scope and very defined purpose. MicroNets are in things like: your own cyberwear, your smartgun, that AV-4 you were chased by last night or the hot little red Audi convertible of that girl you’ve been trying to find an excuse to get to know."

— Rache Bartmoss' Brainware Blowout – The Hardware and Software Compendium for Cyberpunk

MicroNets can be accessed through connection from outside (like these kind of data points or when you got real world access to it so you can simply jack in as we know in the game) or 'microNetrun' via a runner's c-deck. And I think ingame quickhacks such as "Synapse Burnout" as we gamers know them are in reality more Anti-Personnel programs called "Brainwipe" "Zombie" or "Lich". Last two are the evolution of Brainwipe what is describet like this:

Brainwipe is the simplest of a series of black programs, all of which are designed to attack the Netrunner instead of his programs. All black programs can be carried by an intruding Netrunner and used to attack other 'runners encountered in the Net. Brainwipe tracks the victim down, fries his forebrain with a jolt of current, and reduces him to a drooling vegetable <1D6 each turn to INTI. The screaming Netrunner feels his mind melt away, until his INT is reduced to O and he dies. Lost I NT cannot be regained.

This surely is a program Jaysen will definitely make use of. Vijay could but doesn't since he doesn't want to kill people anymore (he used it in his early runner days with a drugged mind as well).

Okay, okay I need to stop or it gets worse.

#cyberpunk 2077 #male v #masc v #oc: vijay steyr #male v monday #cyberpunk oc #cyberpunk v #virtual photography #netrunner #cyberpunk lore #long post #I had to put my thoughts down somehow

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granvarones · 19 days ago

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In 1996, Frank Mendez was one of the most visible people living with HIV in the Rio Grande Valley of South Texas along the US-Mexico border. At a time when the drag community had been impacted heavily by losses to AIDS, Frank was out about his HIV status both in and out of drag and used his platform as Jacqui Fabiane to advocate for safer sex, testing, and education. After testing positive in 1992, Frank became a leading voice in the fight against HIV/AIDS in the Valley and worked as a community health educator for the Valley AIDS Council.

In 1995, several clients protested against the Valley AIDS Council – feeling ignored and taken for granted by the organization's leadership. After launching a hunger strike to incite changes in the agency, Frank left and started his own grassroots group- The McAllen AIDS Coalition.

Needing money to fund his efforts, Frank turned to drag. Since the onset of the AIDS crisis, drag shows had been used to raise money to pay for medical and burial costs for those impacted by AIDS, as well as a forum to educate others about HIV and AIDS. Frank called on four of his fellow drag queens from the local community. The choice was obvious in the Winter of 1996, and they put together a Spice Girls-themed benefit show.

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British girl group The Spice Girls burst onto the scene with their breakout single "Wannabe" in July 1996. It became a global pop sensation seemingly overnight with their brash lyrics and take on "Girl Power" feminism.

The quintet- consisting of Geri Halliwell (Ginger Spice), Melanie Brown (Scary Spice), Emma Bunton (Baby Spice), Melanie Chisolm (Sporty Spice), and Victoria Adams (later Victoria Beckham- Posh Spice)- seemed tailor-made to have a huge queer following- whether it was the larger-than-life camp-inspired outfits donned by Ginger and Scary, Sporty's tomboy aesthetic, or Posh's high-fashion and iconic pout.

Their lyrics celebrating authenticity and expression resonated with many young queer people. For Halloween of 1997, it was common to see groups of five queer friends dressed as the girls. They were also a popular act for drag queens to emulate.

While the group has always embraced its queer following, it was their third single, "2 Become 1," that cemented their status as gay icons- with a lyric change intentionally made to be more inclusive of the community.

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“2 Become 1" is a sensual R&B flavored ballad celebrating intimacy. The original version included on their debut album “Spice” featured a lyric sung by Ginger, "Any deal that we endeavor, boys and girls go good together."

While Ginger quickly became the most popular member of the group, she was the only one who did not have any singing or dancing training. When the group decided to release the song as their next single, she confessed that she had trouble singing her portion and was worried about having to sing it live.

Realizing the original lyric could potentially alienate their growing queer fan base, the girls decided to re-record that portion of the song with new lyrics sung by Posh. The new lyrics, "Once again, if we endeavor, love will bring us back together," - made “2 Become 1” a song that anyone who wanted to "get it on" could relate to.

“2 become 1” became the group’s first Christmas #1 single in the UK in December 1996 and reached #4 in the US the following summer. The song also has an essential nod to the importance of safer sex. Towards the end, Baby sings the final bridge “Be a little bit wiser baby, put it on, put it on…because tonight is the night when 2 Become 1."- a nod to condoms and to navigating sexual safety at a time when AIDS was still ravaging the queer community.

The Spice Girls' connection to queerness went beyond being vocal allies and supporters. In various interviews, Mel B. came out as bisexual- revealing that she had been dating women since her Spice Girl's days. In 2019, she also confirmed long-standing rumors that she and Geri had hooked up during their time in the band.

For Halloween of 1997, the Spice Girls were so ubiquitous that it was common to see groups of five queer friends dressed as the girls. They were also a popular act for drag queens, especially performers who wanted to share the stage with members of their drag families.

For the fundraiser, Frank- the group's leader- was Ginger. Frank's drag mother Takisha More took on the role of Baby- donning her signature pigtails. Takisha was a transgender woman who grew up in San Juan and Edinburg and performed in drag since the 1970s. In 1993, Takisha became the first trans woman to come out publicly on the local news. She was known for her signature high-energy dance moves.

Frank's drag daughter Kanela del Karibe served Sporty Spice with a ponytail and track pants. Kanela was originally from Puerto Rico and moved to the Valley in 1994 with the original plan of moving to San Antonio. She found a community and a voice in drag and decided to stay- remaining in the Valley to this day. She was known for making all of her outfits by hand.

Arden Van York played Scary Spice. Arden was a trans woman from Mission, Texas, of Native Hawai'ian and Mexican descent. She was known for her acrobatic dances- jumping up in the air, doing a flip, and landing in a split at her shows Arden passed away from cancer in 2019.

Rounding out the group was Ty Paris as Posh Spice. Just a few years before, Ty was a young gay teen who found family and community at McAllen, Texas gay bar 10th Ave after becoming the first drag daughter of Valerie Paris - a trans woman from Roma, Texas whose drag house eventually became one of the most prolific in South Texas.

Some of these pictures were taken by Frank’s goddaughter Crystal- who was raised by her mother in a large chosen family that included several drag performers. Crystal would go on to co-found the first GSA in the Valley in 2000.

Instead of hosting the benefit show at a gay bar- which was most common at the time- this group of queens organized their Spice Girls - themed show at a community center in Mercedes, Texas- bringing drag, queer and trans visibility to this small town smack dab in the center of the Valley.

Frank Mendez and his Spice Girls-inspired benefit show in 1997 exemplified the power of community, creativity, and resilience in the fight against HIV/AIDS. By combining activism with entertainment, Frank and his chosen family of drag performers used their platform to raise funds, educate the public, and foster visibility in a region where such efforts were desperately needed.

Written by: Gabriel Sanchez (they/she/he)

Gabriel Sanchez (they/she/he) is a queer and nonbinary native of the Rio Grande Valley of South Texas.

Gabriel is a community historian who has spent the past several years researching, documenting, and sharing the history of the LGBTQIA2S+ community of the Rio Grande Valley and the rich stories of resistance, visibility, and creativity from within this community.

Gabriel curates a pop-up exhibit highlighting this history and a digital archive on Instagram called Pansy Pachanga where they share picture and stories from this community. They are also currently co-directing a documentary of the same name. Gabriel is also a part of various organizations that work to support and celebrate the Rio Grande Valley's LGBTQ+ community including @southtexasequalityproject, @rgvtranscloset, and Casa Kimberly.

This post is in partnership with Pansy Pachanga. Pansy Pachanga is an upcoming documentary about the history of the Rio Grande Valley's LGBTQIA+ community. Follow us for updates and RGV LGBTQIA + history.

#granvarones #pansy pachanga #gay #queer #lgbtq history #latinx #storytelling #spice girls #songs that soundtracked the aids epidemic #Youtube

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air-rising · 1 year ago

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Ellie Carpenter calls out online abuse but shrugs off her own

“The bigger you get, the more criticism you get.”

Ellie Carpenter is authorised to speak on this subject. Mainly because her football career has got real big, real quick – she is 23, has been playing for global powerhouse Lyon for three years, and been the Matildas’ undisputed starting right-back for even longer.

But also because the peak of that career – playing in a World Cup semi-final in her home country – brought with it criticism which would more accurately be described as abhorrent social media trolling.

It happened in August, when Carpenter failed to clear a long ball that resulted in England’s second goal of the Lionesses’ 3-1 win. It was a mistake that left her visibly “heartbroken” after the match, but it did not warrant what former Socceroos captain Craig Foster described at the time as “vile, misogynistic garbage”.

The abuse forced her to limit replies on social media, which were also flooded with supportive messages from fans, friends and teammates, including captain Sam Kerr, who told media she was “mentally one of the toughest kids I’ve ever met in my life”.

Sometimes it is hard for an outsider to know how much this “outside noise” – as many sports people, including Carpenter, call it – affects the individual at its centre. For some, it can devastate mental health and on-field performance. If that is the case with Carpenter, you wouldn’t know it.

Two months after the World Cup, she has been back in the thick of it with Lyon, who are once more top of France’s Division 1 Feminine table, and is now back in Australia answering questions about online abuse she would probably rather not be answering.

“To be honest, I don’t really read or look into that,” she says in Perth, where the Matildas are preparing to play three Olympic qualifiers.

“It doesn’t really affect me at all, because I do a job for my team and myself. I don’t really listen to outside noise. I had a great support system around me during that time, and just during the whole World Cup really.

“It [online abuse] is everywhere these days, and that just shows that the bigger you are, or the bigger you get, the more criticism you get. That comes with being a professional athlete as well.

“You see it everywhere in different leagues, different sport codes. So obviously it’s a problem, and I know a lot of people are trying to make apps and platforms to try and stop abuse and things like that, so that’s good that people are aware of it and are trying to change it.”

Carpenter is an old, independent soul for her 23 years. When she contested the World Cup, she did so after recovering from an ACL rupture, in another country, and opting for little personal support except from her partner and teammate, Dutch international Daniëlle van de Donk.

“You have to grow up very quickly,” she says. “I moved out of home when I was 15 and was living by myself, so you grow up automatically.

“I didn’t really get much downtime [after the World Cup]. You just kind of go straight into a new season, so you don’t really have time to reflect or stop for a second.

“But it’s been incredible to see the aftermath of the World Cup and what we’ve done in football and Australia, and for women as well. I can definitely be proud of that.”

Carpenter is allowing herself to enjoy her time in Perth. She was released early by her club and arrived over the weekend, so enjoyed a couple of extra days to recover from jet lag.

#ellie carpenter #auswnt #matildas

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patang01 · 2 years ago

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#shipment tracking #global visibility platform #global shipping and visibility platform #Real time visibility platform

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bellojinyin · 2 months ago

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Esports and Mental Health: The Pressure on T1's Faker and the Hidden Toll of Competitive Gaming

In the world of esports, few names hold the same weight as Lee “Faker” Sang-hook. As the “Unkillable Demon King,” Faker isn’t just a celebrated League of Legends (LoL) player. He’s the embodiment of excellence and longevity in competitive gaming. Since joining T1 in 2013, Faker has not only built a legendary career but also set an almost impossibly high standard. Yet behind his skill and global fame lies a different story: the intense and often overwhelming mental toll of maintaining a legacy in competitive gaming (Erzberger 2019).

Faker's journey celebrated on the surface, reveals deeper truths about the hidden mental pressures of professional esports. While fans see the exciting highlights and victorious moments, they often miss the relentless training, public scrutiny, and personal sacrifices that endure players to stay on top.

🌟The Rise of an Esports Icon

For over a decade, Faker has been synonymous with excellence in League of Legends. Since joining T1 in 2013, he’s become a three-time World Champion, setting records and establishing himself as a global esports phenomenon. His highlights are legendary, from his Zed outplays to his uncanny ability to turn games around single-handedly. Faker’s playstyle is not only awe-inspiring but also the very standard against which aspiring players measure themselves (Bencomo 2024).

But success in esports comes at a steep price. The pressure to perform at the highest level, combined with the constant scrutiny from millions of fans, is a weight few people could bear. Unlike many professional athletes in traditional sports, esports players like Faker don’t have an off-season; they’re expected to perform year-round, with only short breaks between competitive seasons.

Key Insight: Faker's story is not just about gaming skills; it's a reminder that esports players face unique pressures, amplified by relentless schedules and public expectations.

🧘‍♂️The Hidden Side of Stardom: Mental Health Struggles

While traditional sports have advanced in addressing athletes' mental health, esports is still in its early stages. The demands on pro players are equally intense, but their mental health resources often lag far behind. Faker, as one of the most visible esports figures, has been open about his struggles with burnout – a common, yet frequently overlooked issue in the gaming community (Tan 2022).

For an esports pro, burnout goes beyond just physical exhaustion. Imagine training up to 16 hours a day, seven days a week, with little time for family, hobbies, or even rest. The very nature of competitive gaming means players are always seeking that next improvement, that extra edge. For Faker, whose skill level already outshines most, the pressure to constantly evolve creates an enormous psychological burden (Mckeown & Mathias 2021).

Being a “Faker” means every game has stakes. If he wins, he's applauded; if he loses, he's dissected and criticized on a global scale. It's not just about winning or losing games, it's about upholding a legacy that he's built over nearly a decade, and this drive has its costs (Dookeran 2024).

Key Insight: Burnout in esports is a psychological challenge born of relentless competition, long hours, and the pressure to remain “untouchable.” For players like Faker, this can mean sacrificing almost every other aspect of life.

📣The Weight of Community Expectations

Faker’s fanbase isn’t just large but also passionate and highly invested. Fans worldwide look up to him, often idolizing him for his skill and longevity. However, with fame comes a unique set of challenges. When Faker or T1 fall short of fan expectations, the backlash can be fierce. Social media is both a source of support and a platform for fans to express disappointment, sometimes harshly. Imagine logging on to Twitter or Reddit after a tough loss and finding thousands of messages dissecting your every move and criticizing your decision (Dalton 2023).

This weight isn’t just theoretical; it directly impacts players. Community expectations can create an echo chamber of stress, as every decision and every loss is amplified and analyzed. For Faker, the stakes are even higher because he’s not just playing for himself – he’s playing for a global fanbase that has watched him for years, which includes everyone from loyal supporters to harsh critics. In this digital age, the idea of “no bad days” becomes nearly impossible for esports icons, especially someone as iconic as Faker.

Key Insight: In esports, fan expectations can become intense pressures, and for players like Faker, the community's demand for perfection can lead to stress and anxiety, especially in high-stakes moments.

🤝T1 and the Move Toward Mental Health Support

To T1’s credit, the organization has made strides in acknowledging and addressing mental health needs. They understand that players are under immense pressure and need more than just physical training, they need emotional support and resources to prevent burnout. Faker himself has taken breaks, openly discussing the need for rest to manage mental health, which helps to de-stigmatize mental health challenges in esports (Li 2024).

T1’s progressive approach includes exploring partnerships with mental health professionals, encouraging players to speak openly about their struggles, and implementing policies that prioritize player well-being. Although esports organizations have a long way to go in fully supporting their players’ mental health, T1’s commitment to prioritizing Faker’s well-being is a promising step forward. By championing mental health openly, T1 helps set a new standard for esports, showing that player health is equally as important as game performance.

Key Insight: Mental health resources are becoming essential in esports, and T1's initiatives demonstrate that mental well-being is integral to sustainable success. Faker's openness is helping break the stigma around mental health in gaming.

❤️A Call for Compassion in the Gaming Community

It's easy for fans to get wrapped up in the thrill of watching their favorite players and teams compete. But behind every incredible play, there's a human being with emotions, challenges, and limits. For Faker, being the best in the world comes with sacrifices, and it's crucial that fans remember this duality. Supporting players means appreciating their skills while respecting their need for rest, balance, and space. The T1 fan community has a responsibility, just as T1 does, to create an environment that values mental health and player welfare over perfection.

🌟 Final Thoughts

The mental toll of competitive gaming is real, and as fans and supporters, we need to recognize this. Faker's journey isn't just a story of skill and victory, it's a powerful reminder that even legends need rest, understanding, and support. T1's commitment to supporting their players' well-being is helping to pave the way for healthier practices in esports. The next time we cheer for Faker, let's remember that his journey isn't just about being a champion, it's about showing that esports can be a place of passion and care, not just pressure and performance (Chang 2022).

Reference list

Bencomo, B 2024, ‘A Legendary career: Faker’s Results at Worlds and MSI’, Nerd Street, viewed 14 November 2024, <https://nerdstreet.com/news/2024/5/faker-skt-t1-league-of-legends-worlds-msi>.

Chang, A 2022, ‘What It Means for Sports fans’ Mental Health When Their Team Loses’, NPR.org, February, viewed <https://www.npr.org/2022/02/14/1080684282/what-it-means-for-sports-fans-mental-health-when-their-team-loses>.

Dalton, C 2023, ‘Weight expectations: the Managerial Burden of Doing everything, everywhere, All at Once’, Managementtoday.co.uk, ManagementToday, viewed 14 November 2024, <https://www.managementtoday.co.uk/weight-expectations-managerial-burden-doing-everything-everywhere-once/opinion/article/1813413>.

Dookeran, J 2024, ‘Does a Win/Lose Condition Affect a Game’s Fun? - Jason Dookeran - Medium’, Medium, Medium, viewed <https://jdookeran.medium.com/does-a-win-lose-condition-affect-a-games-fun-83a8b8e382e6>.

Erzberger, T 2019, ‘How Faker and His Father Made Way for the Unkillable Demon King’s Return - ESPN’, ESPN.com, ESPN, viewed 14 November 2024, <https://www.espn.com/gaming/story/_/id/27978025/how-faker-father-made-way-unkillable-demon-king-return>.

Li, T 2024, ‘Mental Health Concerns in E-sport Athletes: Lessons from a Legend’, Psychiatry.org, viewed 14 November 2024, <https://www.psychiatry.org/news-room/apa-blogs/mental-health-concerns-in-e-sport-athletes-lessons>.

Mckeown, D & Mathias, E 2021, Investigation into the Role of Sport Psychologists in Esports , viewed 14 November 2024, <https://onshow.iadt.ie/wp-content/uploads/sites/6/2021/04/All2 .pdf>.Tan, A 2022, 'Why Mental Health in Esports Is Important to Faker and Team Razer | ONE Esports', www.oneesports.gg , viewed <https://www.oneesports.gg/league-of-legends/mental-health-esports-faker/>.

#gaming #t1 faker

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grace-aline · 3 months ago

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Hello.

I hope this message finds you well. I know this might seem strange and a bit random, and I feel embarrassed coming to you like this, but I wanted to reach out to you for help. My name is AshleymilesPhil, and I am a queer refugee currently living in Gorom refugee camp in South Sudan. I originally fled Uganda because living as an openly queer person there meant living in fear of persecution and violence. Unfortunately, the struggles have only intensified as I’ve moved from one refugee camp to another, and now I’m reaching out to you with a request for your help—yes, for help, but it may not necessarily be about money.

I represent a group of LGBTIQ refugees who, like me, fled persecution in search of safety. After leaving Uganda, I arrived at Kakuma refugee camp in Kenya, where I hoped to find refuge. Instead, we faced violence, harassment, and hostility. LGBTIQ refugees in these camps are isolated and targeted simply for being who we are. We had no choice but to continue searching for safety, which eventually led me and others to Gorom camp in South Sudan.

In Gorom, our situation remains desperate. The anti-LGBTIQ laws here are brutal, and we live under the constant threat of violence and persecution. The hardships we face go far beyond that—starvation, lack of medical care, and a daily struggle for basic survival. We are battling a variety of diseases, including HIV/AIDS, tuberculosis (TB), cholera, malaria, and typhoid, coupled with the homophobic daily persecutions we endure. Many of us are living with HIV/AIDS and cannot access the necessary medication, and some have even lost their lives because of this. Our community members are being killed, while others remain victims of severe persecution.

We desperately need the world to know that we exist. We have been silenced for too long, and we lack the platforms to reach out for help and support. Our voices are not being heard, and the global community is largely unaware of what we are enduring. We need help to survive, and we need allies to stand with us during this crisis.

I am humbly asking if you would consider using your platform to tell our story. By writing a blog post about our struggles, you can help us break the silence and raise awareness of the persecution and challenges we face as queer refugees in East Africa. With more visibility, we hope that people around the world will offer their support, whether by spreading our story or encouraging others to take action.

Please know that your efforts could make a real difference in our lives. If you need further information or personal stories from those affected, I am more than willing to provide them. We are counting on people like you to help bring our voices to the world.

Thank you for taking the time to consider our request. Your support would mean everything to us in these incredibly difficult times.

Warm regards,

AshleymilesPhil

LGBTIQ Refugee, EAST AFRICA.

Hey! Thank you for reaching out and for making me more aware of the adversity you face. Reblogging for the signal boost, stay safe

#ace #asexual #genderfluid #lgbtiq #lgbtq community #lgbtq support

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choicesficwriterscreations · 1 year ago

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CFWC Celebration

Hey, fandom! Two important celebrations take place (or begin) in September: Hispanic Heritage Month and Bisexual Awareness Week.

Hispanic Heritage Month is a U.S.-based event that celebrates the history, culture, and contributions of Hispanic Americans. Since we're a global community, we don't think this should be limited to the US, but instead be a celebration of Latine people and cultures worldwide.

Bisexual Awareness Week is a global celebration dedicated to the support and acceptance of the bi community. It's a chance to elevate voices, increase visibility, and bring attention to the unique issues faced within the community. Ideally, it also serves as a platform to advocate for bisexual rights.

We feel it's important to celebrate diversity in the Pixelberry Choices fandom, so in addition to our PRIDE celebration each June, we will be supporting other events that highlight inclusion going forward.

To that end, we would like to announce our month-long CFWC celebration...

Event Guidelines:

Between September 15 and October 15, 2023, we encourage our writers and artists to submit creations that celebrate one or both events.

Fics and visual arts can be submitted.

There are no prompts, but your work should reflect one or both of the celebrations.

Please use the tag #hispanic heritage month and/or #bisexuality awareness week on your post, and remember to tag @choicesficwriterscreations.

All works will be notated with a special symbol on the weekly lists, and two separate masterlists will be posted upon event completion.

Everyone who submits will be eligible for a prize that will be randomly selected after October 16th.

If you have any questions, please send us an ask, or you can DM our mods @jerzwriter or @cfwcmod-lucy.

#choices fic writers creations #cfwc #playchoices #choices the stories you play #cfwc events

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marengogo · 1 year ago

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Silver Lining - What If #6: FOR(ever) ↔️ YOU(ng) - Jikook the Musical

Good Morning - by Verbal Jint [10 Years of Misinterpretation Part I]

[Music is a very big part of my life and I’m MOSTLY INCAPABLE of writing without music, so I just thought I'd share what I am listening to while writing this]

🐺 — 🐺 — 🐺—

Dear Ladies, Gentlemen and Distinguished Enbies, welcome to a one day only “showing” of FOR(ever) ↔️ YOU(ng) - Jikook the Musical. Tonight I shall try my best to narrate a cute little story, which has various songs as centre plot developers; hence a “musical”. Taken individually, all these events may seem absolutely disconnected, and with no relevance to each other. However, as I started to collect them, they turned out to compose quite the neat little story about two boys their love for music and perhaps each other? So grab a snack, and a thin hat everyone, sit, relax and enjoy the show.

SCENE 1: FOR YOU

This story brings us all the way back to almost 8 years ago, to be precise, the year is 2015, the date is August 18 and during BTS’ Japan Official Fan Meeting Undercover Mission in Osaka (this fan meet went on from the 13th to the 20th of August), while playing a game, JM suddenly loses consciousness and falls off stage. He is taken to a hospital immediately and as soon they are explained the situation, Big Hit Entertainment tweets the following:

TRANSLATION:

The same day, JM himself goes ahead and posts the following

TRANSLATION:

Fans panicked. Obviously VERY LUCKILY FOR ME: I WASN’T AROUND AT THE TIME. As for his members, I am sure they were worried out of their minds, so much so that one particular member would express his relief perhaps at having JM safe and sound back with them, right on their very stage. This member was JK, whom two days later (August 20), on the last day of this event, as they performed "For You", walked right by JM and stopped for a couple of seconds, looking at him while he was singing part of the song’s first verse. For the rest of the song, it would become quite visible how JM couldn’t help but smile (cutely).

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SCENE 2: I KNOW

So, even though we do not have an elaborated tale of what all the members must have felt exactly, it is safe to say that JM’s accident had a bit of an effect on JK’s mind. So much so that, a couple of months later, while he was playing around as Romeo & Juliet with JM, on the shoot-set of Season Greetings 2016, JK suddenly “refused” to play with JM because, and I quote:

Let’s fast forward to June 2016, this time we are in Paris, and the boys decide to start a VLIVE just before performing at KCON and, at the beginning of the live, we only have VMIN in sight. They start to talk about RM & JK’s new song “I Know” and, as the two are actually in the room but off camera, Tae asks bribes JK to sing a bit of the song. We still can’t see JK, but, while Tae looks away JM looks straight into JK’s direction as the latter proceeds to sing

🎶Know you love me, boy

So that I love you🎵

… The expression on JM’s face is priceless the things I’d give to know how JK sang this to JM. ANYWAYS, RM eventually also joins into a funny rendition of the song and when they are done, VMIN resumes talking to ARMY and though we will never know for sure what caused it, perhaps JK’s expression, or the lyrics, or the fact that it was JK or all things together, or none of the above, BUT JM did stumble his way through trying to describe the song, in the words of Tae, JM suddenly seemed to be a bit “nervous” almost as if someone had suddenly serenaded him out of nowhere.

Another example at JM being flustered actually happened a month earlier to the Paris trip, at the ISAC where the Tannies needed to sing a song called Hand in Hand and while they are practising (at minute 0:57) I believe that JK might have change the lyrics to “promise me” but don’t quote me on that!, which made JM react in that way Joon and Hobi on the other hand; LOOOL 😬.

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Basically, 10 months had effectively passed since the “For You Incident-Serenade” and it feels as if JK might have caught on to the fact that the easiest way to get a flustered reaction from JM is to sing to him. Perhaps he had to sing at him a couple more times off camera, in order to confirm this theory AS ALWAYS; WE WILL NEVER KNOW but from this moment on, whenever he’d find a chance to, it would seem like JK would take the topic at hand and find a way to romantically sing it at JM.

SCENE 3: A DAY LONG AGO

It is finally February 2017, and love isn’t the only thing in the air, in fact, on paper actually, on February 7, JK graduates high school. He is visibly hella excited, and though he goes to the ceremony alone, all his members show up, and afterwards, on their way to the restaurant, VMINKOOK share a ride. For the most part jikook are doing most of the talking and at a point in which JM is talking a very eager looking JK suddenly starts singing, at JM, the beginning lyrics from A day Long Ago (오래전 그날) by Yoon Jong Shin.

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AND, For the very first time on-camera, JM does his very best not to react. We can still see the slight hint of a smile, but for the most part, he’s successfully brushed it off and he is very quick at keeping the topic of discussion on track.

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This might have thrown off someone like your-truly, but JK? No, the boy likes a good challenge. JK nor was discouraged, nor did he try to force JM to listen to him, he just went along with JM. We are talking about an almost 20 year old boy who, for the greater part of 2016 (that is when he turned 19, which is the age you become an adult in Korea) has been trying his mighty best to have his hyungs, and JM in particular, understand that he is now an adult and that he has been for quite some time. But hyungs gonna hyung, immaright? Sorry JK…

SCENE 4: BEST OF ME

Now, I don’t know what happened in the months between JK’s graduation and the 1st of October (2017), but there seems to be no on-camera attempt of JK even attempting to sing at JM, in fact, if anything, JK has been trying to appeal in different ways. For example, JM-Encyclopedia JK makes an appearance, or I’d rather not call you hyung makes a strong comeback. Regardless, for the first time, at the Fan Meet in Goyang (1st October, 2017) JM is singing at JK lyrics from the “Best of Me” where he substitutes the word heaven (cheonkook) with Jungkook (he would do it again on episode 28 of RUN BTS, which would be broadcasted on November 7, 2017, but telling from the hairstyles it was probably filmed around the same period as the Goyang Fan Meet).

We are now halfway through the movie, and though our heroes have gone through a series of back-and-forths, they haven’t really encountered any “conflicts” per say; namean? Sure, JM is the one doing the singing now, because maybe he is trying to get JK’s attention. Had he lost said attention? Had something happened between the two of them? Or had their relationship evolved to a point in which he was just trying to return some of the musical energy he’d received thus far? WE WILL NEVER KNOW unless they tell us that is. But what we know is that a good 30 days after this, JK would take JM on what we now know to be, thanks to Beyond The Story, a healing trip to Tokyo, which would give birth to the first and most famous gcf: GCF in TOKYO.

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SCENE 5: BOY WITH LUV

Upon returning from Japan the two of them feel closer. It looks like they had the time of their life and they can’t seem to be able to talk about anything else. Basically they appear to be quite smitten with this shared experience, and perhaps, with each other? In addition, while still being the maknae, JK is sort of shifting into being more of a protective entity for JM and though JM tries his best to keep him in that designated maknae-slot, he also can’t help but indulge in the “offered protection”.

They are now spending a lot more time together and this fact is not lost on some people in their environment, regardless of whether said people want to admit it or not. Particularly in 2018 (where, before even getting to the infamous Nampyeon-Namchin December )

we are in Hamilton, September 22nd, on their Love Yourself Tour. As they perform Attack on Titan, during the song’s break, JK pulls a For You Serenade-typa thing, but this is not 2015 and JK is no longer 17. This time, he focuses on JM for the whole part, hair pushed back and all, and for the first time in a while JM is visibly flustered, he silently giggles, turns towards ARMY, and also pushes his hair back. JK’s satisfied expression as he got JM’s attention says it all.

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Yeah, this is not the same JK. He is not a boy who is relieved to see his bandmate's being well and alive, or trying to use the situation to his advantage in an awkwards manner. NO. This is a 21 year old, who’s just come back from the trip of a lifetime, this right here, seems to me, to be a boy with luv.

Speaking of which, fast-forward a couple of months, May 21, 2019, they are in California, and as they are getting ready to perform on The Voice, Memories 2019 will show us how, for the first time JK substitutes words of a song while singing at JM. He substitutes the word “Love is” with “Jimin” while singing Boy With Luv at JM, who acts like he is ignoring him completely but actually proceeds to sing along. Who knew there was an art in serenading and beginning serenaded? Jikook circa 2015 🤡

Indeed, there is nothing stronger than a boy with luv, let’s not forget that a couple of weeks prior to this (May 5th to be exact) Rose Bowl-gate did happen. Well, up to this point, all seems very flowery and very peachy; what could go wrong, right?.

SCENE 6: THE TRUTH UNTOLD

AND, here we are, the part right before the end of the “musical”. We all know some sort of “big conflict is coming” and at this point some might just turn off the movie and leave it at a happy place but the majority will probably just brave it through to this day I start watching Baz Luhrman’s Romeo + Juliet and stop the movie right before the part whenthey take the fake poison, nobody dies in my Romeo + Juliet, thank you, bye! . Let’s brave it through.

Things are going quite well in Jikook world. The Tannies were given a break for the first time ever and thought JM left to go explore the world, he made sure to travel all the way back to Seoul to spend JK’s birthday with him, just to then travel off again; dedication. BTS then takes off to go and shoot Bon Voyage 4, and amongst the many things JK goes up a mountain and comes down with snow for JM; devotion. The two of them are living life, all while diligently performing touring as well.

Thus comes the end of the Speak Yourself tour, Seoul, October 26, 2019. The vocal line performs The Truth Untold and it happens, not only do JK and JM turn to face each other as they sing the last part of the song, but they also change “And” to “But”.

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Jikookers who notice are left speechless, but jikookers weren’t the only people who noticed. That and a series of “jikook moments” throughout 26th-29th of October, made October 30, 2019 quickly roll by and the following happens:

I can’t even imagine what it must have felt to have experienced THAT. To be honest I don’t even want to think about it, but then actually is more like “I can’t believe they actually fucking did that…”. BUT, guess who won the IDGAF war?:

JIKOOK

I bet many thought jikook would perhaps “tone it down”, but they kept being themselves. They kept being as affectionate, annoying, close and “flirty” as per usual, I mean some time in 2020 we got 👇🏾

So yeah, I suppose, love will always win.

SCENE 7: GOOD MORNING

It’s now 2023. All the boys are getting ready to go to MS, as a result, they are giving it their all working on solo projects. Jikook has finally managed to become a bit more private, and this isn’t as a consequence to what happened in 2019 (if not we wouldn’t have had that hickey-incident). A lot has happened since then, but I believe that, perhaps, as things got more serious, and as they got older, their relationship naturally progressed into something more mature, personal and deeper in significance. For example JM associating JK with the song Young Forever

*The writing in the shoe where JM is sticking his tongue out says Jeon Jungkook.

a song that holds a very special place in JM’s heart; tattoo-worthy special.

There is that, the adult side … Aaaand then there is also JK & JM quietly spending 4 days together in NYC/CT, in the midst of JK’s debut (perhaps getting content ready?) and there is also JK half naked in bed trying to bait JM into doing a live with him and starting off the bat with singing at JM the initial lyrics from Good Morning by Verbal Jint.

🎶Good morning – that’s what I texted you

I think I’m into you, it’s dangerous 🎵

… I suppose old habits die hard.

THE END

Always respectfully yours 💜🫰🏾

Marengo.

DELETED SCENES:

THROUGH THE NIGHT by IU

MAKE IT RIGHT by BTS

DAY vers.

NIGHT vers.

ROLLIN’ by BRAVE GIRLS:

#Spotify #Youtube #SoundCloud #Marengo's Silver World #jikook #jikook the Musical

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