#lib fest

[therabbitsmuse]

Forgotten photos from one of my favorite festivals ever, Lightning in a Bottle— back when it was held in Bradley, CA. A sacred place for the weirdos & wooks to return home to.

Some very LIB things —

• Gathering up on the hill every sunset and howling at the setting sun. Unfortunately, I think my video of this got lost somewhere in the Snapchat abyss lol

• The art installations, oftentimes from Burning Man itself. I met many burners during the fest who referred to LIB as ‘baby burning man’

• The nicest bunch of people you’ll find anywhere. I lost my group on one of the days and partied by myself til dawn. It started getting cold and this group that was chilling on a couch (yeah, someone dragged a whole couch to a stage lol) opened up their blankets and invited me in

• If you wanna talk about faeries (apparently this is different from a ‘fairy’), this is the place to be. No kidding, they had a class about faeries for one of the years I went.

LIB is in just a couple of weeks. I’m not going this year but I’m hoping that Burning Man is up next in the not so distant future for me 🖤

[noneedtofearorhope]

i think it's good for anarchism to have the edgy tryhard trolls who make comments about book fairs and fest saying shit like 'fucking liberals holding a LEGAL bookfair, PAYING to use a space, CHARGING money to see the bands. fucking statist capitalists!'. i don't really agree with it as a serious argument, because we are seeking, ultimately, to be a-legal rather than illegal, as seeking to be illegal just lets the state define who we are and what we do. but it is true that many self-declared anarchists are just baby anarchists, they're anarcho-libs, radlibs, etc. and having those voices helps to balance out the liberal tendencies that may creep in, help to push the holders of those tendencies to consider something more radical than peace love and nonviolence.

[goddess47]

Midnight Snack

For No_True_Pair (on Dreamwidth) - September Six - Rodney McKay & Jack O'Neill too many cupcakes -- also on AO3

Also for the still open Stargate Anniversary Fest! Stargate works will be accepted until the end of October!

NTP is a 'mad lib' sort of challenge where you give 8 character names and then you get the 28 (!) prompts that pairs them together with a variety of prompts...

The ficlets will mostly be on AO3 but since this is Rodney and Jack, thought I'd share here...

----

"McKay!" Jack O'Neill called. "What's up?"

"Umm... I was... dammit. I was hungry!" Rodney admitted. "I was looking to see what kind of snacks there might be."

They stood in the kitchen of the mess area. The evening meal had been cleaned up and put away. There were only meals that were prepared for away teams and were clearly labeled. Everyone on Atlantis knew that touching the meals left for away teams was the fastest way to earn John's wrath. No one wanted to be on John's bad side.

"So. What kind of snacks are there?" Jack asked.

Rodney rummaged through the cupboards, not finding anything.

"Okay, this is on your head," Rodney grinned. He opened a cooler to find a supply of cupcakes.

"Do you suppose there are too many cupcakes for whatever those are planned for?" Jack asked.

"There are never too many cupcakes," Rodney shot back.

Jack laughed.

"But they're for the literary reading tomorrow," Rodney admitted. "It's part of the new round of social events. There are music sessions, readings, presentations, and whatever anyone is willing to do in front of a group." He shrugged. "One of the botanists is a writer in her spare time and her work is popular among a segment of the population. They offer dessert like cookies or cupcakes to help boost attendance."

"Will they miss two?" Jack asked.

"Yes!" Rodney nodded. "But leave a note that it was you and me and we'll be fine." Rodney grinned. "I threaten to mess with the hot water in their rooms. They let me get away with a lot."

Jack thought Rodney's work had earned respect similar to Sheppard's but he wasn't going to ruin the illusion Rodney had.

"Sure!" Jack nodded. "I can do that!"

[eliyah-de-dark]

Look, I cannot do art but I had the idea of what the LiB would look like in different times and so I drew a super basic Nibbly. Feel free to roast me idc just wanted to share

The idea was the ye olden times, so he's taken the form of a maiden sacrificed after becoming the Queen of the Honey Fest

[kinkalot]

Bonus Challenge #2 - Kink Link

The second of our Kinkalot 2023 Bonus Challenges - this challenge is open to EVERYONE.

Welcome to Week 2, Kinkalotians! If you’ve always wanted to participate in the infamous Kink Link but couldn’t because you weren’t signed up, well, this is your chance. That’s right, it’s time for our old fan favourite from @pornalot, but with a fresh, new Kinkalot twist! And this year everyone who wants to can join in and link your kinks! Rather than assigning you a prompt ourselves, this time we’re going to let you build your own, like a porntastic game of mad libs. Your entry for this week must incorporate a toy from Column A, an act from Column B, and an Alternate Universe from Column C. That’s TOY + ACT + AU = PROMPT. Sounds simple? Just wait until you get started… For the kinks you need to link and an explanation of the challenge, head on over to this post. REMINDER: This challenge is open to EVERYONE. You don’t need to be a participant of the fest to join in. So if this challenge has turned your head, why not come along and share your entry over on our LJ Post / Over in our Bonus Challenge channel on our Discord server (18+ only)!

[thelensofyashunews]

Hood Fav Jay Critch Drops Effortlessly Fly 'HUMBLE GIANT' Album

A favorite son in Brooklyn since he emerged with a vengeance as a teenager, Jay Critch towers over his competition. Coming through with a collection of highly-confident NY rap slappers, the Clinton Hill native shares HUMBLE GIANT. A thorough examination of Critch's colossal stature, HUMBLE GIANT displays a more mature attitude from the 25-year-old firebrand, alternating his signature flex-fests with songs that take a more reflective and melodic direction. Still, there are plenty of tracks on the follow-up to his acclaimed 2023 mixtape Jugg Season in which Critch displays plenty of his old self, indicating that the giant might not be truly humble: "I done leveled up, god knows I done took a loss/They be teamin' up against me, I must be the final boss," he spits on "Final Boss." 

Spanning 13 tracks, the tape displays Critch's mastery of a variety of New York rap styles, from the slinking and skittering "Too Rare," which harkens back to the '00s days of Fabolous and Noreaga, to the recently-shared "Kick It," a Cash Cobain-produced slice of sample drill with a video set at "Critch Fil-A." HUMBLE GIANT rekindles Jay's relationship with his favorite sound architects, including Tony Seltzer, whose wistful guitar melodies on "Absent" allow Critch to open up about his traumatic childhood. The rapper expertly ties his own experiences to those of a star athlete: "Lamar Jackson" rides Eastern strings and icy synths as Critch moves around in the beat's pocket like the titular mobile quarterback, while "In The League" reflects on how he's been able to keep his family fed with his rap music. Featuring additional production from B Wolf, Laron, frequent collaborator YungGMoney, and many others, HUMBLE GIANT is available everywhere via Talk Money Entertainment / EMPIRE and is now available for pre-order.

Since he burst onto the scene as a teenager with singles like "Ad Libs" and the beloved Hood Favorite mixtape, Jay Critch has been one of New York's favorite sons. His collaborations with Rich The Kid and Famous Dex on the Rich Forever mixtape series remain the stuff of legend, but he hasn't stopped switching up his style or releasing new heat for the streets. Last year, Critch shared the acclaimed Jugg Season, featuring guest spots from Max B, Baby Money, and his Rich Forever associate Rich The Kid, earning Critch a write-up at Pitchfork. Critch recently expanded his CV to include modeling, as he modeled for the Kors x Ellesse campaign alongside Emily Ratajkowski in 2022. He showcased his energetic performance style on a recent edition of On The Radar, featuring two new songs from HUMBLE GIANT.

Stay tuned for more announcements from Jay Critch, as he continues to elevate in NYC and beyond.

[married-2-the-music]

K-pop Discography Deep Dives: Girls Generation / SNSD (Part TWO)

Here are my credentials: So, I’m absolutely a fan of Girls’ Generation, although I’m in that weird space where I’m more than a casual one yet not quite a SONE (a full fan), but just like with Sunmi, I have a feeling that this deep dive will make me one. I’ve heard almost all of their title tracks, and a decent amount of b-sides, but since they have over 100 songs, I’m sure I’ll find some new ones to love too. I’m also a fan of both Taeyeon and Tiffany’s solo careers.

I’m going to take a quick intermission to discuss some of SNSD’s Japanese releases here, which I don’t normally do. Mr Taxi, with its heavy autotune and electronic background, reminds me of a female version of SHINee’s Ring Ding Dong. One of the things I enjoy the most here (besides the roller disco, of course) is that the chorus is given space to breathe when they could’ve cut it for time. Time Machine is a sadder, slower song, and in lesser hands, it could be a snooze fest, but Girls’ Generation’s great voices turn it into a bonafide power ballad.

Paparazzi, as mentioned before, feels like it arrives on a red carpet rather than simply starts with its “ooh la la la”, which is perhaps fitting for a song about fame that features a snippet from Singing In The Rain. This one is probably my favorite of their songs in Japanese; it definitely takes inspiration from disco in the best way, and had me shaking my shoulders and wanting to get a pair of cat-eye sunglasses. Flower Power too is disco, but with a darker synth spin that feels more distinctly Japanese action movie.

Love & Girls takes after SNSD’s cutesier early discography with its colorful styling, poppy background, free-wheeling anti-drop summer chorus, sharp whistles, and peppy ad libs. Beep Beep too follows this thread, but I was won over, as I often am, with its catchy inclusion of several different languages (Italian, Korean, Chinese, Japanese, and English) and fun comic book style illustrations. I also quite like its bridge and last chorus.

So, back to the Korean releases! Catch Me If You Can follows in the footsteps of The Boys and especially Run Devil Run. It has a surprisingly youthful and bubbly pre-chorus, that’s unfortunately followed by the mother of all anti–drops. Unlike in the other songs of theirs that have used one, though, Catch Me If You Can doesn’t do anything interesting with it, and ends up feeling like a dozen other songs. The post-chorus does help it, but overall the track feels incomplete.

PARTY sees Girls’ Generation dipping their toes into a summer fun track, which is new territory for their singles. It’s a little toothless when compared to such iconic and important tracks like Gee, I’ve Got A Boy, or Oh, but it’s still a fun time and it’s a nice break to see them looking so happy. It’s not ending up on my Top 10 list, but I’m not going to skip it if it comes up on shuffle.

Opposite from Genie, which I assumed was much later in their careers, I’d assumed that Lion Heart had been much earlier than 2015, though I’m not sure why. This time, they draw inspiration from doo wop, and turn it into a satire of midcentury love-at-first-sight rom coms. Besides the (as always) great clothes, the MV got some good chuckles out of me with its ridiculousness, over-the-top sound effects, and 60’s dance moves that look right out of a Get Smart episode.

You Think is about as different from Lion Heart as it’s possible to get, with a far more “girl crush” image and a hip-hop beat mixed with synthpop. Funnily enough, I’d actually heard this song’s chorus before (“you think you’re real cool?” “You’re NOT!”), but I didn’t know it was an SNSD song, so that was a nice surprise. It veers a little close to an anti-drop, but thankfully avoids it by the skin of its teeth.

From the Lion Heart album, I really liked the venture into chill bossa nova in One Afternoon, the appropriately vaudeville-style flair and sudden speed-up in Show Girls (which was my hidden gem), the synthy fun of Fire Alarm, and the background guitar in Green Light.

Holiday starts with a guitar riff and an energy that doesn’t slow down to catch its breath until its 3-and-a-half minutes are over. It’s a lot of fun, and immediately makes you want to get up and dance with your closest friends, and besides that, feels like a nice summer vacation for Girls’ Generation too; a new and improved version of Party with a sunny beat straight off a Broadway stage. I enjoyed it much more than I expected to, truth be told, and it went right into my music library.

All Night is the second single from the album, and, although it’s also a dancefloor track, it takes a more minimalistic, sleek approach. The chorus, though I did like it, felt a bit out of left field to me with its tempo change, and the rap likewise didn’t quite fit, but overall I liked this one too, especially the bridge. It’s always a pleasure to see drag queens covered in sparkles on my screen, alright?

From Holiday Night, though I did like the dancefloor citypop of Fan, the expert mix of happy and sad in One Last Time, and the jazzy flair of Love Is Bitter, you can’t do much better for a hidden gem than the confident, movie-soundtrack worthy, anthemic Girls Are Back, which I think perfectly captures the magic of SNSD. Can you really beat “we’re gonna break some hearts tonight, we’re gonna make some noise tonight?” Nope.

Lil’ Touch isn’t exactly a Girls’ Generation song, as it was released with only five of the members, but it’s basically considered one, so I included it. As their discography goes, it’s not the most unique, but it’s still quite solid. Part of that is due to the girls’ vocals, of course, which elevate whatever material they have, but the chorus is genuinely catchy and got stuck in my head. I think that if it wasn’t up against such heavy hitters in their other singles, it would be more highly regarded.

Besides Lil’ Touch, Forever 1 arrives both five years after SNSD’s last comeback and exactly fifteen after their debut with Into The New World, and arrive it does. This was the song that made me a fan of Girls Generation, and for good reason. From the “we’re not stopping!” to the utterly, delightfully sappy profession of love both to their fans and to each other to the “I will love you in my next life”, Forever 1 is a gleeful celebration of friendship and a decade and a half spent in an industry almost impossible to succeed in. Really, it’s everything I love about k-pop in one song, so how could I not love it?

From Forever 1, the album, I wasn’t sure what to choose as a hidden gem. There’s the nostalgic Seventeen, the fast-paced beat of Villain, the chill synths of Paper Plane, and the constant genre shifting of You Better Run (which harkens back to I Got A Boy). It’s a very strong return. Lucky Like That wasn’t technically a single but BTS footage was released as a special video to mark Girls’ Generation’s 16th anniversary. It’s a pretty standard pop song, truth be told, but with the video, it's undeniably charming and made me feel undeniably nostalgic. It was great to see them all smile and have fun performing together, and I wish more groups would have videos like this. I saved it for last, and it was a great place to end.

My Top 5 songs are Into The New World, Hoot, Lion Heart, Top Secret, and Girls Are Back with Show Girls, Love Is Bitter, and Goodbye as honorable mentions. Girls Generation gets a 9.25 out of 10 from me, which I’m not surprised about. There’s a reason I wanted this to be my first review of the new year, and it wasn’t just because they’re a huge group, but also because I had a feeling it would be a lot of fun.

(Please enjoy this photo of the girls celebrating Tiffany’s birthday a couple years ago!) Next time, we’ll be back to our regularly scheduled programming with a one-week boy group. I’m excited about this one, so I’ll see you then! Tchüss!

[deus-ex-mona]

good evening~~ here’s my very cursed(!!!) top 10 list on the most redundant [redacted] anime features off the top of my head~~

debates and disagreements welcome~

10- lxl and basketball

pointless inclusion that was pretty much just an excuse to get chiz to openly thirst over aizo. and to emphasise on just how much better aizo is at sports as compared to his poor sidekick yujiro. just male leads being male leads, ig

i mean, sure, it gave us that beautiful ball e mv, but lxl’s sporty [redacted] anime-induced hobby wasn’t worth much in general.

9- the inclusion of ⅘ of gen 2 tbh

they were pretty much just background extras for the most part, except for ken, who gets bonus moments thanks to being the male lead’s brother. heck, poor kodai doesn’t get much time to shine, despite being the adoring bf of one of the three heroines of the show. mans got more screentime either behind his camera, or as juri love flashbacks during her conversations with the jk trio.

as for the others, arisa got like 5 seconds of screentime (and 4 of them occurred in the sports fest ep, romeo ed included), and kotahina were nerfed to heck and back. they were written to be competitive and stubborn characters, so why were they portrayed to be nothing more than your average caring senpai towards hiyoko? a nd cultural festival w h e r e ? helloooooooooo~~~?

sure, the sports fest ep did give gen 2 in general a chance to show their stuff, but it was clearly more of viewer fanservice for pre-[redacted] anime fans who know and love these characters for who they truly are.

8- aizo’s “trauma reveal”

idk about you, but hiyoko does not need to know about aizo’s trauma. i mean, yeah, i totally get where ken’s coming from. as a scumbag older sibling myself, i, too, get the urge to dump lots of info about my brother to complete strangers. but. it’s just that. hiyori… really didn’t need to go “oh thank god it wasn’t real trauma. now. how can i fix him?”.

she really didn’t need to say that mans. all forms of trauma are valid forms of trauma… if that makes sense. she can’t just decide that someone’s trauma “isn’t real trauma” and then go ahead and liken it to her dislike for squid. and that includes aizo’s trauma with ladies. not cool.

on the bright side, at least aizo’s local idol boo yujiro took his trauma seriously and stood by him even as their manager had a trauma minimising session with his brother. and speaking of yujiro…

7- that someya ‘scandal’

what the heck was that ep 4 someya scandal lmao. it’s never brought up again????? not even by koichiro and tamagoro in the later episodes??? do they even know that there was a scandal about them??? bruh. what was it even there for lol. the gayze???

i mean, yeah, he’s totally the shame of the someya family for going ahead to be the less popular member of a popular idol duo, with said idol-ling being something he had received the head of said someya family’s permission for. but he had debuted without his family’s name anyway so??? does it even matter???

it would’ve actually made sense if it had a call back in a later episode, with, like, the reveal that maybe chizuru or one of the 100000 aizo stans there apparently are had leaked yujiro’s last name online in an attempt to take him down so that aizo can have a solo idol career or something. but no. it’s just never brought up again.

but before we drop the topic of yujiro like how his in-universe popularity dropped to 0 in the adaptations…

6- yujiro arrest reason

this. made. no. sense. either.

did the [redacted] anime throw darts at a dartboard of possible plot ideas to decide how the someya family side plot was going to go?? or was it decided with an online prompt generator?? or was it the result of a game of mad libs with the office crew????

like? lol? who smuggled koichiro into the bar??? and wh o let baby face yujiro into the bar??? and how did none of the staff at the bar question it?

though. wait. how the heck did hiyoko even see enough distinctive features of yujiro’s during the night that she witnessed his police encounter to identify him when they next crossed paths in the classroom? she was looking at him from above from her spot on a flight of stairs in dim lighting. just how good is her eyesight? hello?

5- repurposed yumefan

yeah yeah i k n o w the [redacted] anime staff justified their choice to use yumefan as a song to encourage hiyoko bc “it’s a song about encouraging others” and stuff. but still. yappa saikyou would probably have worked too, since it’s about not wanting to lose to your rivals and aiming to surpass the rest and stuff like that. or they could’ve just. y’know. kept nonfan in their setlist anyway if they wanted to dedicate a song to their friend(?) slash manager, since that song’s mv was the first mv that hiyoko had worked on, and thus, ✨memories✨ are there, y’know?

either way, the [redacted] anime staff saw yumefan, decided “ok it’s for women now” and had it dedicated to hiyoko and got the narumi sisters to cover it as a special ed. much wow. aizo would be proud. and speaking of aizo…

4- yuko in the countdown live

she moved to france in the lxl movie, so what is she doing here in the first place? to watch her estranged son hxld hxnds with some rando onstage? go back to france, yuko.

3- nagisa arc

the main problem i have with nagisa’s arc is how forced it felt tbh. it kinda felt like it was just. shoehorned into the plot? it just. didn’t flow well. like… especially how nagisa was completely written out of the plot after he hopped on that train. lxl had been teasing hiyoko relentlessly about nagisa till he left. then it was just like. he never existed?? excuse???

i mean. i love nagihiyo. don’t get me wrong. it’s just… the way the [redacted] anime staff plotted it into the story felt… off.

look, you see, i think the nagisa plot would’ve worked better as a season closer. like, after all that friendship drama and scandals and stuff, we get a breather in the form of the nagisa visit. he could be visiting for the countdown live, or for a christmas or new year’s visit for all i care, but it’d give the lxl + hiyoko trio, with newly strengthened bonds of friendship after all they’ve been through (thanks chiz), a chance to show off their cooperative skills with the hiyoko makeover sequence and subsequent nagisa encounter. heck, it’d even give nagisa another reason to be wary of lxl, since “aren’t these the dudes from that relationship scandal you were in? you should be more careful around them fr” could be a legit point of concern. plus! it could lead into a post-series uni timeskip or something for that sweet, sweet nagihiyo uni arc crumbs!!

hmmm. well. in the end, i still hate how nagisa’s existence was all but retconned after his episodes. poor lad. he deserves better!!! and speaking of deserving better…

2- the narumi sisters’ appearance

for sena, as she has co-starred with lxl in the past, and since she is still in the industry, it’s no surprise that she’d make an appearance or two. however, the r e a l problem is how she was handled. she was only abruptly thrown into ep 6 to fit in yet another “uwu woe is me im not cute uwu” hiyoko moment in the 24 minutes of terror. plus, those sena-mona moments make no sense whatsoever if you’re a [redacted] anime-only who doesn’t know how lxl and the narumis know each other. viewer fanservice at its finest, ig.

now. mona.

#notmymona

w h o is that girl and why does she have our angel’s name and face? i swear, the only redeeming trait she has is that her character design was done by moge, which is. yeah, much cuter than her lxl movie cameo appearance.

but aside from that. who is she? she has no goals, no ambition, all she does is go “uwu i look up to my sister who i envy… but nvm i’m here to be your relationship therapist so that’s enough about me—”

she doesn’t even get to perform in the [redacted] anime even though there was an entire joint-artiste concert in the last episode. she doesn’t even salt about her nasty encounter with yujiro (which would’ve made for a more interesting topic during her second encounter with hiyoko when they talked about conflicts with friends, instead of being demoted to a bonus manga tbh). she’s so bland, she makes plain spaghetti taste like carbonara.

and speaking of carbonara, we return to lxl for number one, which is…

1- the lxl shower scene (no image bc g o o d l a w d w h y w o u ld i include it)

they are 15. we don’t need that extended shower scene. we don’t need to know that hiyoko has no qualms about barging into the showers for the opposite gender, with said members of the opposite gender being completely nude and uncomfortable when she did so. we just. didn’t need to see any of that.

who was that scene even made for? help???? just how bad did they think their own show was that they felt the need to put in an out of place scene of teen boys showering to pad the runtime?? excuse???

[itsawritblr]

Twelfth Night, 2017. Olivia, her uncle Sir Toby Belch, and Feste the Fool.

In TV and film Tim McMullan almost always gets cast as a serious, professional, polished, emotionally restrained man, like his roles in Shakespeare in Love, The Queen and Foyle's War.

It's wonderful to see him in a comedic role playing an alcoholic rogue, and, IMO, pretty damn sexy (OK, I got a weakness for rogues. And those lovely tight pants . . . ).

I love his exasperated "Give me faith . . . "

If Toby's only "half drunk" here I can't imagine what he's like fully drunk.

The line "pickled herring" was ad libbed.

@flatcap-n-tea, in case you haven't seen this.

[selamat-linting]

the anarchists in my city are a joke. they have always been an isolated sausage fest but now theyre even more disappointing. one of them stood up at some lib fem event asking what are their target market for organizing the damn show. are you fucking kidding me? and now i just saw them distributing a zine online called 'the influence of jewish culture in punk scenes' and oh boy its goes as badly as you think it is. talking about hidden conspiracies and hidden agendas from too much nazi hate. this is what happens when you dont have a scientific theory to explain why things are the way they are. this is what happens when you dont learn about settler colonialism and imperialism properly! congrats assholes, you sound just like those right wing cunts who is afraid of judeo-bolshevism!

[fascination4949]

LOL feminism (at least not lib or choice feminism) isn’t *just* about “women can do anything men do” how fucking reductive. Like that’s the thought I formed when I was 13 and had just learned the meaning of the word “feminism”. Yeah it’s true that “biologically” we can do anything, but that’s like so fucking obvious it’s actual laughable that you’re bringing it up like some sort of revelation to shit on radfems. Radical feminism (and any feminism that rejects “choice or liberal” bs which is what you’re peddling here) isn’t trying to prove that men and women are “equal”. We are trying to address the consequences of literally thousands of years of patriarchy during which “female biological features” were used to oppress us. You might not want to hear this but misogyny has historically been about body politics. Look around you. We live in a world that’s been literally built around the notion that (cis) women are inherently weaker because of our biology, so we need more than just saying “we can do anything”. And this shit affects people who fall outside the cisgender binary. Why do you think trans-misogyny is a thing? 🤔 Patriarchy has literally changed the way women behave. There are so many studies about this. You can’t reverse that with just saying women can do men’s jobs or whatever. No radical feminists will disagree with your statement. But saying you’re the same as men isn’t gonna fix the oppression that we still face today. That’s why radfems advocate for many “RADICAL” ideas like separatism for example. No radfem is gonna be like “women are weak and love pink and men are strong and love blue” like 💀💀. Your girlboss millennial cringe fest idea about feminism is literally useless on its own without addressing patriarchy as an ongoing system of oppression that affects every aspect of our lives. You guys love to shit on radfems but it just makes you look like a joke.

like what happened to "women are capable of doing everything men can do". If this statement is true the reverse is also true. It doesn't mean they necessarily do but they could. Thats like THE feminist statement in my mind its the most important one and radfems are actively rejecting it. There is nothing but superficial differences between us!!! "Men" and "women" are fictions used to organize society and power in a specific way they're not essential truths. We can go from one to the other freely and easily because we are essentially the same. The massive gulf between us in modern society is political, its not in anyway concrete, essential or biological.

[whileiamdying]

Paul Morrissey, Andy Warhol’s Cinematic Collaborator, Dies at 86

In films like “Trash” and “Women in Revolt,” he brought movement, character and something resembling a story line to the Warhol film aesthetic.

Paul Morrissey, center, with Andy Warhol, right, and an unidentified man in Los Angeles in 1966. “My films derive from Andy’s,” Mr. Morrissey said in 1972. “I use a lot of this technique but add direction, story and a little more selection.”Credit...Steve Schapiro/Corbis, via Getty Images

By William Grimes Oct. 28, 2024

Paul Morrissey, whose loose cinéma-vérité films made with Andy Warhol in the late 1960s and early ’70s captured New York’s demimonde of drug addicts, drag queens and hipsters and turned an unlikely stable of amateur actors into underground stars, died on Monday in Manhattan. He was 86.

The death, in a hospital, was caused by pneumonia, said Michael Chaiken, his archivist.

In films like “Flesh,” “Trash,” “Heat” and “Women in Revolt,” all made on budgets of less than $10,000, Mr. Morrissey brought movement, character and something resembling a story line to the Warhol film aesthetic, which had consisted of pointing a camera at an actor or a building and letting it run for several hours. (Warhol’s “Empire” was a continuous shot of the Empire State Building that lasted eight hours and five minutes.)

Relying on a shifting collective of amateur actors, like Joe Dallesandro and Viva; transgender performers, like Jackie Curtis, Holly Woodlawn and Candy Darling; and marginal downtown characters, Mr. Morrissey concocted a distinctive blend of squalor and melodramatic farce that captivated many critics and even, in some instances, translated into box-office success.

The scripts, such as they were, were almost entirely ad-libbed. The stars simply portrayed themselves. And the plots defied synopsis.

Mr. Morrissey, front, with, from top, Joe Dallesandro, Holly Woodlawn and Jane Forth, in a publicity photo for Mr. Morrissey’s 1970 film “Trash. ”Credit...Henri Dauman/Jour De Fete Films

“Trash,” Mr. Morrissey’s biggest critical and commercial success, followed the trials and tribulations of Mr. Dallesandro playing a heroin-addicted gigolo earnestly, if groggily, trying to support his wife, played by Ms. Woodlawn. “Women in Revolt” took the theme of women’s liberation and grafted it onto a sendup of Hollywood women’s pictures of the 1930s, with Ms. Curtis, Ms. Woodlawn and Ms. Darling striking poses and reflecting on their status in a sexist society.

In any case, Mr. Morrissey believed fervently in star power first and last. “Andy and I really try not to direct a film at all,” he told The New York Times in 1972. “We both feel the stars should be the center of the film.” Holly Woodlawn, he insisted, would be remembered long after Pablo Picasso was forgotten.

Mr. Morrissey finished his tour of duty with Warhol by making two horror films intended for a broader audience: the 3-D “Flesh for Frankenstein,” released in 1973 under the title “Andy Warhol’s Frankenstein”; and “Blood for Dracula,” released in 1974 as “Andy Warhol’s Dracula.” They were dismissed by most critics as campy gore fests.

“He was great because he shot beyond the margin,” Maurice Yacowar, the author of “The Films of Paul Morrissey” (1993), wrote in an email. “In the party scene in ‘Midnight Cowboy,’ John Schlesinger gives us a teasing glimpse at the new subculture, but Morrissey really dug into that world. Henry Jaglom, Jim Jarmusch, Hal Hartley — all the American independents who give us big feelings from small stories about offbeat characters — their founding father was Morrissey.”

“Flesh for Frankenstein,” released in 1973 under the title “Andy Warhol’s Frankenstein,” was dismissed by most critics as a campy gore fest but acquired a cult following.Credit... EMI Film Distributors LTD, via Movie Poster Image Art/Getty Images

Mr. Morrissey was born on Feb. 23, 1938, in Manhattan to Joseph and Eleanor Morrissey, and grew up in Yonkers, N.Y. He attended Roman Catholic schools and studied English at Fordham University, where he earned a bachelor’s degree in 1955 and began making 16-millimeter silent films. His first effort, a one-reeler, showed a priest saying Mass on a cliff top and then throwing his altar boy over the edge.

Despite the subject, Mr. Morrissey was not rebelling against the church. He enjoyed perplexing interviewers by fully endorsing his Jesuit education, heaping scorn on liberals and denouncing sex, drugs and rock ’n’ roll even as he presented, without comment, scenes of shocking degradation on film.

“With us, everything is acceptance,” he once said of his collaborations with Warhol. “Nothing is critical. Everything is amoral. People can be whatever they are, and we record it on film.”

After serving in the Army, Mr. Morrissey ran, and lived in, an underground cinema in the East Village, where he showed his own films and those of others, including “Icarus,” an early effort by Brian De Palma. Mr. Morrissey later took pains to explain that he was not part of the experimental-film movement. With his interest in stars and narrative, he was, as he liked to put it, “independent of the independents.”

Mr. Morrissey was introduced to Warhol in 1965 by the poet and filmmaker Gerard Malanga at a film screening, and the Factory phase of Mr. Morrissey’s career began. At the time, Warhol was making experimental films at the commercial loft on East 47th Street known as the Factory. The titles capture their static, impassive aesthetic: “Hair Cut No. 1,” “Shoulder,” “Couch.” The camera stared, unblinking, and whatever happened, happened — or didn’t.

Mr. Morrissey in 2000 in his Manhattan apartment. “People can be whatever they are, and we record it on film,” he once said.Credit...Sara Krulwich/The New York Times

Accounts differ about this period. Mr. Morrissey himself revised his version of events, gradually reducing to the vanishing point Warhol’s participation in the films that went out under his name after 1965.

At the time, however, Mr. Morrissey conceded more ground. “My films derive from Andy’s, but his were being made without direction, without preparation, with total improvisation,” he told The Times in 1972. “I use a lot of this technique but add direction, story and a little more selection.”

After working on “My Hustler” (1965), Mr. Morrissey took over as director on “Chelsea Girls” (1966), the first Warhol film to break completely with the catatonic approach typified by “Empire” and reach a wider, if still underground, audience.

“Lonesome Cowboys” (1968), a series of arch allusions to the Hollywood western (with a cross-dressing sheriff), disturbed audiences with a gang-rape scene, and Mr. Morrissey later found it wanting. With “Flesh” (1968), “Trash” (1970) and “Heat” (1972), however, he moved to the front ranks of independent filmmakers, a position solidified with the giddy “Women in Revolt” in 1972.

[dankusner]

Brent Gobert wears his homemade headdress at the Arlington Pride event at Levitt Pavilion in Arlington on Saturday, June 8, 2024.

In 2004, Massachusetts became the first state to legalize same-sex marriage, paving the way for LGBTQ+ rights nationwide.

Same-sex marriage was federally legalized in 2015.

Arlington Pride Event sparks backlash over children getting exposed to sexual content

Arlington Pride hosted an all-ages event at Levitt Pavillion on June 8, and it seemed to draw criticism from many quarters.

Multiple organizations sponsored the event, including Frank Kent Cadillac of Arlington, AMM Political Strategies, Charles Schwab, Lockheed Martin, and the Help Center for LGBT Health and Wellness, which offered free HIV testing, according to the Arlington Pride website.

“We believe in a world where all people are free to express their sexual orientation and gender identity with pride,” the Arlington Pride website states.

The event has garnered blowback from users online, particularly over the sexual content on display in front of children.

“Arlington, TX ‘family-friendly all-ages’ pride fest featured dId0s, sx toys, women flashing their beasts, drag queens, people walking around in bndge gear, and merch with the word c*t proudly displayed for kids,” Libs of TikTok posted on X.

The tweet included a video from the event, which was recorded by the Texas Family Project.

The event, according to the X video, had vendor booths with dildos, vibrators, and hand fans emblazoned with the word “C**T.”

Additionally, drag queen performers present at the event wore provocative clothing that exposed their buttocks.

One of the drag performers, Alyssa Edwards, has been known for competing in drag pageantry, including “Miss Gay America” in 2010.

Also in attendance were members of the DFW Sisters of Perpetual Indulgence, a group whose members dress like nuns and use drag and religious imagery to satirize issues of morality.

The group has been described by a prominent Catholic leader as “an anti-Catholic hate group,” as previously reported by The Dallas Express.

“We believe all people have a right to express their unique joy and beauty, and we use humor and irreverent wit to expose the forces of bigotry, complacency and guilt that chain the human spirit,” the Sisters of Perpetual Indulgence website states.

Arlington resident Kathi Arocha questioned why such an event would allow minors to attend.

“Why is it okay for children, young babies, to be placed in an environment to experience sexually explicit items, nakedness, and erotic dancing at a young age? What is the purpose of that?” Arocha told DX.

Rosalie Escobedo, the director of the Tarrant County Chapter of Citizens Defending Freedom, was also critical of the event.

“The details that were exposed regarding the all-ages Arlington Pride event were horrific and pedophilic,” Escobedo said to DX.

However, others expressed their approval of the event as a safe place to express their “true colors.”

“A lot of us don’t go out with our true colors. It’s very dangerous, unfortunately, in our time where we’re at. It’s a place where we don’t have to worry about kissing in public,” attendee Max Wood told the Fort Worth Report.

At the Dallas Pride event held on June 1, the DX saw several parents in attendance with their young children despite an abundance of sexually explicit merchandise on display by vendors. Some booths were selling hand fans emblazoned with phrases such as “MAKE ME CM AGAIN,” “B*y,” “HE/HIM/HOLE,” “DADDY,” and “CT.” Other items available for sale included magnets depicting female breasts and buttocks and aprons printed with a picture of a naked man covering his genitals with a black hat.

[lithium-battery-service]

𝗡𝗲𝘄𝘀𝗹𝗲𝘁𝘁𝗲𝗿 𝟬𝟳-𝟮𝟬𝟮𝟯

Hier die heutigen Themen im Überblick:

1. 𝘼𝙪𝙛𝙯𝙚𝙞𝙘𝙝𝙣𝙪𝙣𝙜 𝙪𝙣𝙙 𝙋𝙧𝙖̈𝙨𝙚𝙣𝙩𝙖𝙩𝙞𝙤𝙣 𝙯𝙪𝙢 𝙊𝙣𝙡𝙞𝙣𝙚-𝙎𝙚𝙢𝙞𝙣𝙖𝙧 𝙯𝙪 𝙙𝙚𝙣 𝙉𝙚𝙪𝙚𝙧𝙪𝙣𝙜𝙚𝙣 𝙪𝙣𝙙 𝘼̈𝙣𝙙𝙚𝙧𝙪𝙣𝙜𝙚𝙣 2024/2025 𝙢𝙞𝙩 𝙑𝙤𝙧𝙖𝙪𝙨𝙨𝙘𝙝𝙖𝙪 2026 𝙞𝙢 𝘿𝙤𝙬𝙣𝙡𝙤𝙖𝙙-𝘽𝙚𝙧𝙚𝙞𝙘𝙝 𝙯𝙪𝙢 𝙃𝙚𝙧𝙪𝙣𝙩𝙚𝙧𝙡𝙖𝙙𝙚𝙣 𝙫𝙚𝙧𝙛𝙪̈𝙜𝙗𝙖𝙧

2. 𝙇𝙪𝙛𝙩𝙫𝙚𝙧𝙠𝙚𝙝𝙧 𝘼𝙧𝙜𝙚𝙣𝙩𝙞𝙣𝙞𝙚𝙣 𝙍𝘼𝙂-01 𝙆𝙡𝙖𝙧𝙨𝙩𝙚𝙡𝙡𝙪𝙣𝙜

3. 𝘼𝙥𝙥𝙡𝙚 𝙇𝙞𝙣𝙠 𝙯𝙪𝙧 𝘼𝙗𝙛𝙧𝙖𝙜𝙚 𝙫𝙤𝙣 𝙋𝙧𝙤𝙙𝙪𝙠𝙩𝙙𝙖𝙩𝙚𝙣𝙗𝙡𝙖̈𝙩𝙩𝙚𝙧𝙣 𝙪𝙣𝙙 𝙐𝙉 38.3 𝙋𝙧𝙪̈𝙛𝙪𝙣𝙜𝙨𝙯𝙪𝙨𝙖𝙢𝙢𝙚𝙣𝙛𝙖𝙨𝙨𝙪𝙣𝙜𝙚𝙣

4. 𝙒𝙚𝙞𝙩𝙚𝙧𝙗𝙞𝙡𝙙𝙪𝙣𝙜𝙨𝙩𝙚𝙧𝙢𝙞𝙣𝙚 2024 𝙖𝙪𝙛 𝙙𝙚𝙧 𝙒𝙚𝙗𝙨𝙚𝙞𝙩𝙚

1. 𝘼𝙪𝙛𝙯𝙚𝙞𝙘𝙝𝙣𝙪𝙣𝙜 𝙪𝙣𝙙 𝙋𝙧𝙖̈𝙨𝙚𝙣𝙩𝙖𝙩𝙞𝙤𝙣 𝙯𝙪𝙢 𝙊𝙣𝙡𝙞𝙣𝙚-𝙎𝙚𝙢𝙞𝙣𝙖𝙧 𝙯𝙪 𝙙𝙚𝙣 𝙉𝙚𝙪𝙚𝙧𝙪𝙣𝙜𝙚𝙣 𝙪𝙣𝙙 𝘼̈𝙣𝙙𝙚𝙧𝙪𝙣𝙜𝙚𝙣 2024/2025 𝙢𝙞𝙩 𝙑𝙤𝙧𝙖𝙪𝙨𝙨𝙘𝙝𝙖𝙪 2026 𝙞𝙢 𝘿𝙤𝙬𝙣𝙡𝙤𝙖𝙙-𝘽𝙚𝙧𝙚𝙞𝙘𝙝 𝙯𝙪𝙢 𝙃𝙚𝙧𝙪𝙣𝙩𝙚𝙧𝙡𝙖𝙙𝙚𝙣 𝙫𝙚𝙧𝙛𝙪̈𝙜𝙗𝙖𝙧

Die Aufzeichnung und Präsentation der Neuerungen und Änderungen wurde nun um die Vorgaben zum Ladezustand ab 2026 ergänzt und steht für Lizenz-Kunden nach dem Einloggen über den Download-Bereich zur Verfügung.

2. 𝙇𝙪𝙛𝙩𝙫𝙚𝙧𝙠𝙚𝙝𝙧 𝘼𝙧𝙜𝙚𝙣𝙩𝙞𝙣𝙞𝙚𝙣 𝙍𝘼𝙂-01 𝙆𝙡𝙖𝙧𝙨𝙩𝙚𝙡𝙡𝙪𝙣𝙜

Zum Glück gab es eine Klarstellung zur RAG-01 in den IATA DGR durch die Argentinische Luftfahrtbehörde. Die Anforderung die Dokumentation und Markierung in spanischer Sprache zu haben, gilt nur für die Beförderung gefährlicher Güter mit Abgangs- und Bestimmungsstaat Argentinien, also nur für innerargentinische Flüge. Dies hat Argentinien über eine Änderung zu den ICAO TI 2025/2026 bekanntgegeben. Die IATA wird diese Änderung natürlich in einen Zusatz zu den 65. IATA DGR 2024 aufnehmen, sobald einer veröffentlicht wird.

3. 𝘼𝙥𝙥𝙡𝙚 𝙇𝙞𝙣𝙠 𝙯𝙪𝙧 𝘼𝙗𝙛𝙧𝙖𝙜𝙚 𝙫𝙤𝙣 𝙋𝙧𝙤𝙙𝙪𝙠𝙩𝙙𝙖𝙩𝙚𝙣𝙗𝙡𝙖̈𝙩𝙩𝙚𝙧𝙣 𝙪𝙣𝙙 𝙐𝙉 38.3 𝙋𝙧𝙪̈𝙛𝙪𝙣𝙜𝙨𝙯𝙪𝙨𝙖𝙢𝙢𝙚𝙣𝙛𝙖𝙨𝙨𝙪𝙣𝙜𝙚𝙣

Unter diesem Link kann man direkt ein generelles Produktdatenblatt aller Apple und Beats Produkte erhalten:

Und unter diesem Link kann über eine Eingabemaske bei Apple das entsprechende Produktdatenblatt oder die UN 38.3 Prüfungszusammenfassung abgefragt werden:

4. 𝙒𝙚𝙞𝙩𝙚𝙧𝙗𝙞𝙡𝙙𝙪𝙣𝙜𝙨𝙩𝙚𝙧𝙢𝙞𝙣𝙚 2024 𝙖𝙪𝙛 𝙙𝙚𝙧 𝙒𝙚𝙗𝙨𝙚𝙞𝙩𝙚

Unsere Termine 2024 stehen schon länger fest, doch nun sind diese auch unter dem Reiter Weiterbildung auf unserer Webseite gelistet. Wir freuen uns darauf den einen oder die andere live oder virtuell wiederzusehen!

Wir von LITHIUM BATTERY SERVICE stehen Ihnen bei Fragen zu Transport, Verpacken und Versand zur Seite.

Bei uns können Sie sich kostenlos eine UN 38.3 Prüfungszusammenfassung und Lieferantenabfrage herunterladen, um an die oben genannten Information zu kommen.

Genauso stellen wir Ihnen eine Checkliste UN 38.3 Prüfungszusammenfassung gemäß UN-Handbuch Prüfungen und Kriterien kostenlos zur Verfügung, um alle Angaben des Herstellers oder nachfolgenden Vertreibers zu kontrollieren. Kontrollieren Sie nach Bestätigung, ob die Lithium-Zelle oder -Batterie auch zum Gerät passt und nicht nur allgemeine Angaben gemacht werden oder sie lediglich ein Produktdatenblatt erhalten haben.Hier die Checkliste mit der Sie die Angaben überprüfen können:

https://www.lithium-batterie-service.de/.../LiBS...

Natürlich können Sie uns auch damit beauftragen-nehmen Sie mit uns Kontakt auf:

Wir stehen Ihnen auch bei allen Fragen zum gesamten Logistikprozess auf den Verkehrsträgern Strasse, See, Schiene und Luft zur Verfügung.

Wir haben Checklisten entwickelt, die für jeden Transportfall alle Informationen, Kennzeichen, Begleitpapiere, Verpackungsanweisungen entsprechend ADR, IMDG-Code und ICAO-TI / IATA-DGR, RID enthalten.

So haben Sie Ihre Logistikabläufe immer aktuell und keine Sendung bleibt stehen.

https://www.lithium-batterie-service.de/de/checklist?tab=1

Sie können sich heraussuchen, welche Checklisten Sie für Ihren Transportfall benötigen. Sie können einzelne Checklisten oder Gesamtchecklistenpakete erwerben.

Hier finden Sie ein Beispiel, wie unsere Checklisten aussehen:

Wir bieten Ihnen und Ihren Mitarbeitern auch Schulungen mit und ohne Prüfungen an. Hier finden Sie unsere aktuellen Seminare:

Auf unserer Website finden Sie auch Hinweise zu Lagerung, Entsorgung, Handwerkerregelung, Besonderheiten im Luftverkehr und viele Informationen rund um Lithiumzellen und Batterien in unserem Blog und Downloadbereich.

Wenn Sie mehr über die UN Testreihe nach 38.3 wissen möchten, schauen Sie hier:

https://www.lithium-batterie-service.de/.../un-38.3-test...

Und mehr über das Qualitätsmanagement Programm hier:

https://www.lithium-batterie-service.de/.../qualitaetsman...

Bei Beratungsbedarf oder Anfragen zu In-House-Schulungen nehmen Sie Kontakt mit uns auf.

Einer unserer zwei Experten Jürgen Werny und Eva Glimsche weiß bestimmt Rat rund um den weltweiten Versand und Transport von Lithiumzellen und Lithiumbatterien.

[themoabmercury]

Even wilder than we thought when we posted it on our sister blog, @thecapitolradar.

Will Wilkerson could not resist even the ambiguous publicity that we gave him on TCR, so he crashed our Zoom meeting to ask us libs to publish his debut novel, er, political snooze-fest.

Once Wilkerson got the lay of the land, he waxed horrified over two Eric Trump employees, both high-profile Democrats, who were apparently giving away all Wilkerson's secrets to folks in OUR meeting.

It seems that Will Wilkerson still works for the Trumps. In fact, he never stopped.

We wondered whether Will was related to David Wilkerson of The Cross and the Switchblade fame, but somehow, nobody on the Internet has ever thought to ask that question -- not even to debunk it.

For his part, Will Wilkerson says he's agnostic, and begged us not to post this article "over there". Meaning over here.

Just another day at the office.

He blew the whistle on Trump's Truth Social. Now he works at Starbucks.

So . . . this is wild.

[thelensofyashunews]

Jay Critch Pops Off in Paris in Video for Ambezza-Produced "Leaf"

A flexer since birth, Jay Critch knows how to make a scene. Taking over Paris in his latest music video, the Clinton Hill native brings Brooklyn to the Boulevard in "Loaf," his new video. Produced by Ambezza, the multi-Platinum producer known for his work with Drake, "Leaf" employs splashy, filtered synths and gently-knocking percussion to create a smooth and futuristic atmosphere. The rapper who calls himself Hood Fav slices effortlessly through the beat like a hot knife through premium French butter, as he stacks ultra-confident bars about his luxurious playboy lifestyle and insatiable appetite for financial success: "Tell me like what you gon' do for the check?/Imma tell you I'm doing the most/And my pockets is full of the loaves, you play with the bread and you toast," spits Jay Critch. In the video, directed by Suave, the Hood Fav takes over the City of Lights, as he prances through Parisian streets and enjoys a five-star meal.

"Loaf" is a highlight track from HUMBLE GIANT, Jay Critch's new album. A thorough examination of Critch's colossal stature, HUMBLE GIANT displays a more mature attitude from the 25-year-old firebrand, alternating his signature flex-fests with songs that take a more reflective and melodic direction. Still, there are plenty of tracks on the follow-up to his acclaimed 2023 mixtape Jugg Season in which Critch displays plenty of his old self, indicating that the giant might not be truly humble. Spanning 13 tracks, the tape displays Critch's mastery of a variety of New York rap styles, from the slinking and skittering "Too Rare," which harkens back to the '00s days of Fabolous and Noreaga, to the recently-shared "Kick It," a Cash Cobain-produced slice of sample drill with a video set at "Critch Fil-A." With additional production from Tony Seltzer, Laron, B Wolf, and more, HUMBLE GIANT is available everywhere via Talk Money Entertainment / EMPIRE.

Since he burst onto the scene as a teenager with singles like "Ad Libs" and the beloved Hood Favorite mixtape, Jay Critch has been one of New York's favorite sons. His collaborations with Rich The Kid and Famous Dex on the Rich Forever mixtape series remain the stuff of legend, but he hasn't stopped switching up his style or releasing new heat for the streets. Last year, Critch shared the acclaimed Jugg Season, featuring guest spots from Max B, Baby Money, and his Rich Forever associate Rich The Kid, earning Critch a write-up at Pitchfork. Critch recently expanded his CV to include modeling, as he modeled for the Kors x Ellesse campaign alongside Emily Ratajkowski in 2022. Earlier this year, Jay showcased his energetic performance style on a recent edition of On The Radar, featuring two new songs from HUMBLE GIANT.

Stay tuned for more announcements from Jay Critch, as he continues to elevate in NYC and beyond.