#i selected a bunch of these based on loose (very loose) connections to some friends

[agentleem]

people are still doing this funny trend, right?

[cristixntm]

𝐦𝐞𝐞𝐭  𝐜𝐫𝐢𝐬𝐭𝐢𝐚𝐧.

[ XAVIER SERRANO / POLYTROPOS / CAERUS / MUSE 36 ] / [ CRISTIANO MONTERO ] is a [ TWENTY-ONE ] year old [ BUSINESS ADMINISTRATION ] major. [ HE ] is known for being [ CHARMING & CLEVER ] but [ INSOUCIANT & INSENSITIVE ].  when i think of them, i imagine [ A CHEEKY WINK FROM ACROSS THE BAR, LATE NIGHT ‘U UP?’ TEXTS, THE CLENCH OF A JAW BEHIND A COCKY SMIRK, RICH BOYS DON’T HAVE HEARTS ]. and even though they’re a proud HU student now, we all have our roots. theirs run back to them being a [ MHP ( AQUA ) ] graduate.  i asked around and it turns out they [ AREN’T ] an AOP student. in their interview, they managed to woo the admissions team by [ PRESENTING A FIVE-FIGURE INVESTMENT PORTFOLIO THAT WAS STARTED FROM $10 ]. i guess that’s all there is to know! unless…

howdy hey frands! i’m jocey ( 24, she/her, est ) & this is my trash son, cristian. not me reusing an old intro and still getting this up late……. mmYEP luv that for me! if you would like to plot, hit that like button & i’ll come your way or feel free to hmu on discord ( jocey#9154 ).

full name : cristiano javier montero de barra nickname : mostly goes by cristian age : twenty-one sexuality : heterosexual hometown : madrid, spain / los angeles, california high school : marble hill prep ( aqua house ) HU house : polytropos major : business administration extracurriculars : eleusinian circle ( legacy ), soccer ( centre forward )

cristian is the second and youngest born to javier montero and alisa de barra. his dad is the CEO of montero properties, the developer behind many big name casinos and resorts around the world, while his mom is an actress who starred in several spanish telenovelas and hollywood films.

originating from spain, the montero family had always been a familiar face in the media, with both cristian and his older sister having large followings on social media. the montero’s had a reputation for living extravagantly and lavishly, and often flaunted their 1% status.

out of the whole family, arguably the one with the most controversial reputation was cristian — one of the heirs to the montero fortune, fuckboy extraordinaire with an impressively long list of ex lovers, and all around entitled trust fund brat ( whEW hate that!! ). taking full advantage of his family name, he was always seen at the exclusive events and partying, even hooking up, with some well-known names.

but with the family name also came the expectation to be the picture perfect son and the responsibility to carry on the family legacy. unfortunately, parents never quite get exactly what they hoped for from their children, do they?

if there’s one thing you should know about cristian is that he will never do anything if he felt forced into it. his parents learned early on that hiring a good PR team and shipping their son off to a boarding school ( marble hill prep ) was easier than forcing him to behave. the fact that cristian’s dad was a MHP and HU alum and the montero’s family were big donors might have helped to keep him from getting expelled on one or two occasions.

still, to some extent, cristian did the bare minimum just to keep his parents off his back and his bank account essentially bottomless. he got good grades ( whether it was completely based on his own merits was a different story ), showed up to important events ( granted he was always drunk and late ), and charmed the pants off of interviewers and his admirers ( sometimes quite literally ).

attending hatchett unversity was just another thing that he did to keep his trust fund ( or so he says ). and who was he to turn down the good ol’ college experience? it was also the perfect way to keep his side business ( read: drug ring ) going.

running a boarding school turned college drug ring was never exactly something he’d planned on doing. like with most things in cristian’s life, the opportunity sort of just fell into his lap and he decided to run with it. call it a bored rich kid thing, but there was just something about earning his own cash in such a risky way that made it that much sweeter.

while those who know cristian may be aware of his connection to this drug ring, most assume that he’s just dealing and/or using his rich boi connections to bring in customers. only a select few know that he’s actually the brains behind the surprisingly well thought-out operation, and he prefers to keep it that way.

cavalier fuckboy with a heart of gold… ( underneath a shit ton of asshole layers, that is ) basically summed up cristian. he always puts out this very lazy, devil-may-care image of himself, and acts like someone who could not give two shits about anyone other than himself. call him a selfish asshole and he’d probably agree with you. but when it comes to his closest friends, the ones he considered to be his real family, there’s nothing he wouldn’t do for them.

most write cristian off as this spoiled, reckless and directionless loose cannon, who maybe had one braincell on a good day. but underneath it all, he’s a lot smarter and more calculating than many people give him credit for and believe it or not, actually does think things through. but he believed that expectations just led to disappointment, so it was better to not have anyone expect anything of you. hence the perfected facade he’s kept up for as long as he could remember.

he is, however, not so smart when it comes to his love life and is notoriously bad at juggling his booty calls. as in, getting all their names mixed up, and running into a booty call number three, who he’d ghosted, when he was with booty call number five. but then again… could it all just be an act to get out of any and all potential relationships? who knows?

WANTED CONNECTIONS. most connections are open to multiple people filling it, unless it’s crossed out. and ofc i’m always open to any ideas not listed here!

RICH BOI SQUAD ━  they’re those guys. the popular, rowdy bros who are always seen together, they throw the best parties and cause a bunch of mayhem together. honestly just a bunch of obnoxious alpha dudes who think they’re hot shit.  taken by kennedy king

#1 SINCE DAY 1  ━  cristian’s best bro since the beginning of time ( or close enough ), who’s been there through all of his constant shenanigans and wild times.  taken by felix könig

BEST GAL PAL  ━  probably one of the few girls cristian’s managed to not try to hook-up with, or constantly flirt with. someone who helps him remember the names of all the girls he’s hooked up with plz lol. it’s rare that he’s protective over someone, but he’d absolutely throw hands for her if needed.  taken by caroline fitzgerald

CONFIDANT  ━  someone who actually knows cristian very well and sees through his lazy rich boy act. one of the very few people who he’s completely opened up to and genuinely cares about not fucking up their friendship.  taken by florence trask

MOM FRIEND  ━  basically a mama bear who looks out for cristian and may be one of the few people he actually listens to. doubles as his moral conscience/good influence when he wants to do dumb rich boy things.  taken by giada vitale

PSEUDO SIBLING  ━  they have a sibling-like relationship, where he’ll annoy them sometimes and they mom friend him. but they’re always looking out for each other.  taken by odette könig

CHILDHOOD FRIEND  ━  someone he grew up with. they could still be friends to this day, maybe they grew apart, or maybe they never really clicked.

UNLIKELY FRIEND  ━  the last person you’d expect to be friends with cristian. possibly met during a school project or something, and they realized that he’s… actually… not that bad?? despite what everyone says about him and his reputation, y/m sees that he’s not really as big of an asshole as he comes off and is actually kind of tolerable one on one. kind of.  taken by dorian garcia

FAVOURITE ANNOYANCE  ━  they got on cristian’s nerves at first, but eventually, they grew on them. whether he admits it or not, they do have some kind of friendship and deep down, he does enjoy their company.  taken by astrid mae

DEALERS  ━  basically dealers who work for cristian, who is the supplier. he may seem like a clueless hot mess, but rest assured, he takes care of his own. as long as that loyalty is returned.  taken by felix könig

ON & OFF  ━  cristian has had a lot of flings and hook-ups, but this person has been the one constant in his life. their “relationship” ( if you can call it that ) is kinda messy because he ( and maybe she as well? ) won’t commit, but is also surprisingly chill.

HOOK-UPS / FWBS  ━  whether you like cristian or not, people can’t really deny that he’s good-looking rip. he’s known to have a bit of a roster of girls that he hits with those late night booty-calls/texts.  taken by diana radcliffe

PAST HOOK-UPS / FWBS / ONE NIGHT STANDS  ━  homeboy has been around the block and back more times than he can count on two hands, so he’s definitely got a long list of ex-luvas. especially ones who hate him cuz he’s the worst™.  taken by isadora banks, daphne moon

ENEMIES  ━  cristian’s the kind of guy who easily has a lot of people who don’t like him. he practically has no filter, so his big mouth and careless words are bound to rub some people the wrong way. or maybe he screwed y/m over to save his own ass.  taken by belinda torres, camille jung

[biofunmy]

The Fabric of Nigerian Weddings

Dola Fatunbi Olutoye, 25, was ecstatic after becoming engaged last November to Dr. Yinka Olutoye, 26. She knew she wanted a traditional Nigerian wedding, but needed help executing the cultural elements of the ceremony, which took place on May 25 in Houston.

Mrs. Olutoye, a pharmacy student from Houston, and Dr. Olutoye, a recent medical school graduate, are both Nigerian-Americans who are part of the Yoruba ethnic group, which is heavily concentrated in the Southwest region of Nigeria.

On the top of her to-do list, after graduating from pharmacy school and starting a residency program, was to shop for traditional fabrics, which have become emblematic of Nigerian weddings today.

“Nigerian weddings are full of color, vibrant, and are flashy,” said Mrs. Olutoye, who has attended many traditional Nigerian weddings in her hometown. “Without your fabrics, you’re not having a traditional Nigerian wedding.”

In Houston and throughout other Nigerian enclaves, like Atlanta, New York and Baltimore, Nigerian wedding ceremonies are especially opulent. Guest lists can number in the hundreds — a cultural holdover from Nigeria, where significant life events were typically community gatherings open to close relatives and loose acquaintances. With such a big audience, a bride aims to impart regality, vibrancy and thoughtfulness in each of her bridal looks.

With the help of her mother, Modupe Fatunbi, who had connections to a fabric distributor in Asia, Mrs. Olatoye picked out the colorful, patterned yards of lace and silk for each of her ensembles. They featured: a champagne and rose gold-color set, heavily beaded with pearls and embroidered flowers for her Yoruba traditional wedding (also known as the engagement ceremony); a royal blue dress with a detachable skirt for her western wedding, which included a conventional white gown; and various fabrics for three thanksgivings after the wedding, when the couple receives well-wishes and blessings from friends and family.

To streamline the process, Mrs. Olutoye enlisted the assistance of Doyin Fashakin, the owner of Doyin Fash Events, a luxury bridal consultancy and events company in Houston. Mrs. Fashakin, also of Nigerian heritage, knew the subtle fashion elements necessary for an authentic cultural wedding, and wears many informal hats during the wedding preparation process — family therapist, budget enforcer and fashion consultant for anxious clients.

“When you’re picking out your outfits, it’s very important that you select something unique and colorful but also of quality,” said Mrs. Fashakin, who along with overseeing the more logistical aspects of planning a wedding, also helps brides source fabrics and accessories for their ensembles from vendors in Nigeria, Switzerland, Dubai and Australia.

What makes a good fabric? “No synthetic fibers or blends; the material should be 100 percent lace or silk,” Mrs. Fashakin said. “The material also shouldn’t bunch or fade. There shouldn’t be loose threads and it should always feel good against your skin.”

Chioma Nwogu-Johnson of Dure Events, a wedding and events company in Houston, said that while planning a wedding in Houston is more cost-effective than in New York, the brides who procure her services still spend from $100,000 to $300,000 or more to host their nuptials. A sizable budget — sometimes $10,000 or more — is usually allocated to wedding fashions. Couples also absorb the cost to outfit large bridal parties and select attendees in aso ebi (translating to “family clothes,” or a uniform dress worn by friends of the couple as a show of solidarity). Some brides opt to send their raw fabrics to trusted tailors in Nigeria, where the craft work is less expensive.

“Nigerian brides spend months searching for their wedding fabrics looking for something distinct — something that no one else will have — and that can sometimes be a tedious and frustrating process for brides,” said Ms. Nwogu-Johnson, whose clients often include affluent professionals, like medical doctors, engineers and oil contractors. “They want to make sure that no other brides are wearing their fabrics. More than anything, they want to make sure they stand out.”

Social media can provide some inspiration for brides. The hashtag #nigerianwedding on Instagram touts more than 3 million posts, showing brides in all manner of colors, fabrics and bridal party size.

The style of dress at Nigerian occasions will vary, depending on the tribe of the celebrants. For instance, brides from the Igbo people, another major ethnic group concentrated primarily in south-central and southeastern Nigeria, adorn themselves with coral beads signifying royalty, and at times use George fabric, a heavily embroidered material from India.

Material made of lace is also popular for many Nigerian brides across tribes, as are other textiles like silk and tulle, embellished with hand-stitched beads, stones and pearls tailored painstakingly to a bride’s taste.

Many brides spare no expense in making what the Yoruba people call their aso oke or top clothes, made of a matching buba blouse and iro, a swath of fabric wrapped around the waist. A heavy sash of complementary fabric, called an iborun, is draped on one shoulder. The bride’s ensemble is matched to her husband’s tunic and pants set, along with his agbada draping and fila hat.

But perhaps the most important part of any Nigerian bride’s look is her gele, a scarf or fabric folded into an ornate shape atop a woman’s head. The gele is standard in African women’s wear, although called by different names throughout the continent. A bride’s look is incomplete without it.

Tying gele requires artistry, nimble fingers and a touch of originality; no two geles are tied the same. “A well-tied gele at a wedding is what an ascot is at the Kentucky Derby,” said Hakeem Oluwasegun Olaleye, a bridal stylist based in Houston who is known within the bridal circuit as Segun Gele. Named for his skill in fashioning the head scarves, Mr. Olaleye is commissioned to wrap geles around the heads of brides and female attendees at weddings around the world.

“Geles are art — it is your crowning glory,” Mr. Olaleye said. “It’s as important as your hair. You can wear a cheap dress and have your head wrap beautifully done and no one will notice your outfit. Your gele is the focal point.”

When Charlye Nichols Egbo, 31, a luxury property manager in Houston, married her husband Stanley Egbo, 38, who works in oil and gas logistics, in March, she employed five distinct dress changes for her traditional engagement and western wedding, sourcing materials from Nigeria and Turkey. With nods to her husband’s Igbo culture — Mrs. Egbo, who is African-American — solicited help from Ms. Nwogu-Johnson and Mr. Egbo’s three sisters to pull each of her distinct bridal looks together. One of her looks was a heavily beaded navy and gold embroidered ensemble with an embellished floral sleeve made from fabric bought in Dubai. Another outfit — a sparkling, two-tone red set number with coral neckwear — was complemented by a fuchsia-laden aso ebi party of 27 and a custom-made white gown by Esé Azénabor, a Nigerian atelier.

“Every suit maker, every dressmaker we used was Nigerian, Mrs. Egbo said. “I could have bought a gown from Vera Wang, but it was important to us to maintain authenticity, which made everything that more intimate and that more special.”

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Sahred From Source link Fashion and Style

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[theartscenter-blog]

Jayme Stone’s Folklife

Interview: Jayme Stone Posted by Jenks Miller In 2015, banjoist and composer Jayme Stone released Jayme Stone's Lomax Project, a record featuring a selection of songs from Alan Lomax's vast catalog of field recordings, re-imagined and recorded for a modern audience by Stone and a hand-picked ensemble of roots musicians. The success of the Lomax Project, which Folk Roots called "an essential album," inspired Stone to continue his investigation of archival folk music traditions from around the world. The updated project, dubbed "Jayme Stone's Folklife," explores Sea Island spirituals, Creole calypsos, and Appalachian dance tunes. We spoke with Stone in anticipation of the Jayme Stone's Folklife performance at The ArtsCenter in Carrboro on Friday, April 27th. Tickets for the performance are available here.

photo courtesy Jayme Stone

Jayme Stone's Folklife is a touring ensemble show that grew out of your 2015 album, Jayme Stone's Lomax Project. The updated name suggests that you've expanded the project's repertoire beyond the scope of the heralded Alan Lomax collection to include songs from the larger folk tradition. Is that a fair characterization?  Yes, certainly that is a fair characterization. The project began focusing specifically on songs that Alan Lomax and his father, John, had collected. Over the years of doing the project, it evolved and expanded, and we started to include the work of other folklorists and open the aperture a little bit wider. More than anything, we focused more on the songs and the singers and traditions themselves, rather than the collectors so much.   Will Folklife be an ongoing project, or is your work under that name specific to this tour?  Folklife has been an ongoing project. The Lomax Project started almost five years ago. Historically I've made a new record every two years – that's a vastly different concept in lineup and repertoire – I've done that, then I've done a one-eighty and made something completely new. But this project has lasted because it's so deep – these archives are so vast, and I will never get to listen to all the songs as long as I live! It's a very deep well.  And we are continuing, still. I'm beginning to work on a new project that is a big departure from anything that I've done, but the Folklife project will continue. The band is like a family now and we love to play together, unearth old songs and dust them off. The lineup for your April 27th show at The ArtsCenter includes Moira Smiley, Sumaia Jackson & Joe Phillips, each an accomplished musician in their own rite. Your Lomax and Folklife projects feature collaborators from a diverse array of musical backgrounds. How did you choose the lineup for each of these projects? I have met all the musicians that I've worked with in an organic way. There's a loose-knit community of musicians who are interested in this old music. I keep my ear to the ground, and I'm always checking out new people and seeing who's on the scene. These were all musicians that I was really moved by – both their musicianship, and they're all wonderful human beings, which is a major criteria. Even though folks have to be interested in these old folk songs, the music draws influence form jazz improvisation and a certain connectivity that happens in chamber music playing as well as all kinds of other references coming in. I like to work with people that have a foot in the tradition and are willing to step outside and have varied interests. Do you perform the same selections at each show? What can your ArtsCenter audience expect from your performance?  We tend to have a setlist for a tour or a season. It will slowly evolve and morph: certain songs might fall away for a spell and new ones are always being folded in. At this point we are playing most of the songs from the new Folklife record, a few that we are forever in love with from the Lomax Project record, and then there are a couple of new things that have never been recorded. And we're still a month away so who knows what might evolve before then! But the last two records definitely will give people a clear idea of what to expect.  

You've said that you hope your work with folk archives turns people on to the world of field recordings. What is it about field recordings that appeals to you, as a folklorist, musician, and/or a listener? Although I'm someone with a modern sensibility in how I make music, I'm always interested in going back and learning from our elders and exploring the more arcane corners of the roots music tradition. So I try and find songs that are more undiscovered. And we like the concert to also feel educational, where people get introduced to traditions – you know, maybe they haven't heard music from the South Carolina Sea Islands, or maybe they didn't realize the banjo came from West Africa and you can hear all those influences in both Appalachian repertoire and things in the Carribean which have strong relations to the African American tradition here. So we definitely try and turn people on to the wide scope of this music.   Ever since I was a kid I always loved avidly reading liner notes, and if somebody would mention an influence or where they learned a song, I would look that artist up and in turn find out who they learned from. That's how I found field recordings in the first place. They're a great touchstone, as well as just being beautiful, raw, often very emotional, and unpolished in the most beautifully organic way. You made your own field recordings when you traveled to Mali in 2008 to study the banjo's African roots. I've read that you wanted to capture the sound of instruments like the n'goni for your own learning process. How does a folklorist determine how to use field recordings, and whether or not to release them commercially?  I did spend three months in Mali, West Africa in 2008. I didn't make field recordings for any kind of public use – they were very much personal. I wasn't super concerned with the quality, I just did the best that I could. Mostly I was making recordings because there weren't very many that were available of people playing n'goni and other ancestors of the banjo. Much like the banjo in bluegrass music, the n'goni in West African music is part of the fabric of a band. It can easily get buried, so there wasn't much solo n'goni music where you can hear what was going on. I was looking for recordings that I could bring back and study -- whether it was a balafone player or a kora player or a singer, I wanted to be able to stop and just listen to what one person was doing and get some of the nuance and detail and polyrhythm. I never even thought to release them commercially, nor do I think I ever will! But I still go back from time to time and learn songs that I never got to learn in the last ten years.  Are there guidelines for how a musician featured in a commercially released field recording would be credited and compensated? Does that factor into the decision a folklorist makes about how he or she might use a recording?  You know, I've never gone about doing that. I have friends that have worked on, edited, or curated collections for Smithsonian Folkways who have a lot more experience. I typically think these things are negotiated one-on-one with individual artists. In some cases, artists are not paid and in other cases they make special arrangements. And of course, what was done in 1933 will be vastly different than what's done now.   There are all kinds of complex legal issues with these old songs -- it is a very, very complicated and philosophically complex issue. How the law works is based on precedent. So, somebody with enough gumption who's lawyered up can go ahead and say, "Well, I wrote such and such traditional song," and until they get challenged in court, they have the ability to say that whether it's true or not. Oftentimes the origins of these songs are obscure, or there are many cases of songs where an artist has claimed publishing on them and yet in the recording itself they talk about where they learned them from! Or people just change the title or rewrite the lyrics to a melody or rewrite the melody to lyrics.   The Lomax Project benefited from the relatively recent digitization of Alan Lomax's field recordings. (All seventeen-thousand-odd original field recordings are now available online at the Cultural Equity organization.) Can you talk about the impact that digitization and internet distribution have had on your work as a folklorist?  The work that I've done has been enormously helped by the fact that so much of the Lomax archive and the work of many other folklorists has been digitized. Even with Smithsonian Folkways, you're able to stream or purchase most of their catalog now, digitally. And for free, they provide full liner notes on their website, which is a little-known fact that is an incredible benefit for people like me. It's really an amazing resource. It's not without its issues – it's very different to scroll through a list of songs and click on them, listening through your computer speakers. It can have such a different experience to it than sitting at the foot of an elder musician or learning a song from somebody with whom you can spend time in their community or their home. And yet it's such a good resource: the ability to access this vast, vast trove of songs. Yeah, I have relied on it heavily.   Also, wanting to have more of a first-hand experience, I have spent a bunch of time at the Library of Congress and the American Folklife Center, looking through card catalogs and wandering through the archives themselves down in the basement, pulling things off shelves and having a more tactile, curious relationship with the material. Also, I've had things digitized, or I've listened to things in their original format, and learned songs that have not been digitized. So all kinds of different processes are at work here, but yes, the internet is greatly beneficial to this process. 

Jayme Stone's Folklife performs at The ArtsCenter on Friday, April 27th Doors: 7pm Show: 8pm Venue: Earl & Rhoda Wynn Theater Tickets are available here The ArtsCenter Jayme Stone’s Folklife

[kaitlynjenson-blog]

To Rebate Or otherwise To Savings.

The Sighted planet is consistently a demanding location for those people coping with sight loss. Real, they typically aren't specifically a warm present and will definitely never replace genuine blooms, yet the fact that you cared good enough not to make the recipient's allergy symptoms flare up suggests a whole lot. For you to possess a very easy opportunity you ought to take into consideration an amount of aspects just before you settle on a provided business.

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[2017mdia4120-blog]

Parsons-Friday Assignment

Zane Parsons

MDIA 4120

1/12/17

 Friday Assignment- Week 1

 Part 1

 -My earliest memory of social media use was in Middle school. I was about 14-years-old at the time and trusted enough to manage and operate my own MySpace account. I would spend hours customizing my profile, picking my music and completing the daunting task of selecting my “top friends”.

 -My earliest memory of social media use regarding a family member was with my sister. My sister and I are only three years apart so growing up we stayed pretty close and connected. When I as about 12-years-old I vaguely remember that my sister had what seemed like a very complicated Xanga profile. At the time it seemed confusing and pointless. I do not remember much about it but I know that I wanted nothing to do with it.

 -The very first blog or channel I subscribed to were a bunch of college-aged guys on YouTube that labeled themselves “Epic Meal Time”. Ever since I was a child I have always loved and found comfort in food. I found the “Epic Meal Time” channel fascinating because the creators of the channel would make detailed videos showing the absurd and highly caloric meals that they would make on a weekly basis. Some of their ideas included “Fast Food Lasagna” and the “100 pound Big Mac”.

 -As a senior, I have made great strides to improve myself both mentally and professionally during my time here at Ohio University. With a broadcast journalism major I have always understood that social media has a vast amount of power within the industry. In order to prepare myself for a career involving social media, I have taken a lot of time to look at my own accounts. I have made sure that all of the information presented on my social media accounts is accurate, consistent and professional.

 Part 2

 -           When I think about the constant advances in social media and how users have played an important role in the shaping of the way social media sites are ran, I immediately begin to think of Twitter and the power that it holds within the media realm. According to the Pew Research Center young adults between the ages of 18 through 29-years-old prefer reading their news as opposed to watching it. Many young adults are not interested in actively seeking out news. Without purposely looking for news, world information can be seen on Twitter timelines and news feeds whether a user follows a news-based account or not. Social media users have affected the way that news is delivered to viewers. Instead of actively seeking out information, news is simply placed in front of users to see.

           Social media users are also constantly fighting to make sites more personal. Now with features like “Facebook Live” and “Instagram Live” users can literally broadcast everything that they are doing in real time. Many social media platforms are also combining ideas. Certain traits that are seen on one social media site may now be used on others. On the Snapchat app users can now call, text, or facetime any of their followers whom they wish to contact.

 -           When I think about the future of social media I am both overwhelmed and concerned. I already believe that social media is becoming too personal and too invasive. Social media users are both alone and surrounded by thousands of people at the same time. Social media users are rapidly loosing more and more privacy with every like, favorite and retweet. I believe that we will become so advanced within social media that eventually our species will begin to lose a grasp on reality. Our online ads will be personally tailored to our wants and needs, we will be able to see our friends and family virtually with the press of a button and we will be able to link all of our cars and technological amenities to one powerful application. I obviously do not know what the future holds in regards to social media but I definitely think that the outcomes will be beyond everything that anyone could have expected.