#no sense of solidarity or self reflection

[afro-elf]

really starting to think that many of you aren't as anticapitalist as you portray yourselves to be or if you are it's in a very shallow, self-centered, and most of all WHITE way

[animeyanderelover]

Can I request Fyodor, Jōno, Sigma, Tetchō, Yuki, and Kyo with a darling that enjoys solidarity? Pls and thank you❤️

Glad that I asked you before publishing this. For everyone’s information, it was meant to say that the darling enjoys solitude.

Tw: Yandere themes, toxic relationship, possessive behavior, obsession, delusional behavior, manipulation, abduction, isolation

Tags: @shumidehiro @leveyani @izanami78 @flaming-vulpix

Darling enjoys solitude

Fyodor Dostoevsky

🍎​Everything in life has its good and its bad aspects about it and the same concept applies to your preferences for solitude. On the positive side, it is quite delightful to have you already self-isolating all by yourself as Fyodor can keep very easily an eye out for you. But where is the fun? He is a terrible person who believes himself to do God's work yet the diabolical things he does surpass even the deesd committed by the devil himself. Fyodor sees it as a necessity to break you and shape you into someone new and he can't help but think that it might be less amusing to watch your life crumbling away as you prefer your solitude over the company of other people. Nevertheless, if you should be someone who is less prone to show your feelings very easily, he sees it more as a challenge than anything else to see how far he must go to finally shatter you to your core. It is a sick and twisted way of thinking but it is a deed that has to be done. After all you deserve all the suffering he is about to unleash on you.

Jouno Saigiku

♦️​Your preference to spend time alone is much appreciated and welcomed by Jouno who has always been far too possessive to let other people close to you. Whenever he seeks you out, he finds you most of the time alone and enjoys the fact that he can have your attention and company all for himself most of the time. Although it does increase his spite for the people you do actually keep close as he knows that they are very special to you if you bother to hang out with them. You are a fairly calm and composed person who enjoys their quietness and that is reflected in the relaxed composition of your heartbeat. As someone who can pick up on the emotions of others easily due to his enhanced senses, this only aids further in Saigiku's obsession as your emotions don't overwhelm him. Although similar to Fyodor he still has a sadistic streak and sometimes might try to trigger your emotions to go haywire to satiate his own desire. Your racing heartbeat is lovely to listen to at times after all.

Suehiro Tetchou

🌸​Tetchou is fairly normal for someone who has an unhealthy obsession going on but if you compare him to people like Saigiku, it should be no surprise. On the other hand he is quite dense at times and may make wrong assumptions which is unfortunately what happens in your case. He assumes that your preference to be alone is because you have social anxiety, even if that may simply not be the case. Growing from this hasty assumption of his, he grows more protective over you to the point where he actually ends up isolating you even if you want to spend time with others. Convinced that he is doing you a favor, he ends up taking over every social interaction of yours as you aren't even allowed to order something from the staff in a restaurant as he instead insists on doing so for you. It may not look like much but it can very much turn into a smothering overprotective behavior where your social skills drastically reduce themselves due to the social isolation he puts you through.

Sigma

☁️​You give him almost constantly anxiety due to your withdrawn personality which has him actively struggling out of fear that you'd be annoyed if he would attempt to talk with you. He doesn't want you to direct any negative feelings his way as he is much too sensitive for that so instead Sigma starts stalking and spying on you to collect as much information about you as possible. Knowledge is a weapon after all and he hopes that by finding out more about you, he can find a suitable way to approach you without getting on your nerves. He is most likely overthinking it all yet it's not like someone could just explain this to him. He does learn to appreciate it more later on as he can spend all of his time alone with you without having to worry about you expressing unhappiness about the isolation due to your preference os being alone. As foolish as it may be, he even has high hopes that you will forgive him the abduction he is currently planning as you have never been a fan of being under people to begin with.

Sohma Yuki

🐭​Yuki has been admiring you from a distance for a long time yet for multiple reasons he has never approached you before. Sometimes he wonders if you are someone like him though as he often sees you all by yourself, not bothering to mingle with other students. He wishes to talk with you yet his low self-confidence and his popularity have always kept him from doing so. When he eventually gathers the courage to seek you out and start a conversation with you, he only finds himself falling more for you. He feels comfortable and safe in your presence and the fact that most of the time you are by yourself only aids his secretly possessive side as he claims that time alone he has with you. Yuki quickly learns where he can find you when he feels the need to see you and sees it through that no one follows him so that no one can disturb the time he wants to have with you for himself. Things take a bad turn when he finds himself dependent on you though whenever he feels anxious or very stressed, leading him to suffer from a mental breakdown when he can't find you anywhere.

Sohma Kyo

🐈​Kyo may not show it but he feels initially worried when he catches you most of the time away from others, instead sitting all by yourself. He wonders if people don't like you or if you are very anxious yet he soon comes to realise that you just simply prefer to be by yourself. It does give him relief to know that he has nothing to worry about yet it also makes it more difficult to approach you, even though he has sworn to not get to know you due to the deal he made with Akito. The heart does what it wants though and so he finds himself commonly hiding from your sight as he watches how you spend time by yourself, reading a book or doing some work for school. It isn't enough to quench the longing in his heart yet he reminds himself that staying away from you is for the best. Kyo is very protective though and whenever he overhears someone calling you weird for always being alone, he reacts defensive and brash as he lashes out on the students for talking about you like this.

[hoodreader]

tw sexual abuse & diddy

diddy getting outed & raided with the tuesday eclipse on his north node… with his tattoo of ezili dantor on his back. the loa of tuesdays and the protector of women & children. & he’s an avid sexual abuser of women & children.

the back is associated with leo/libra. leo is children, libra/venus is justice. and the back/unseen part of things is ruled by saturn, which is the planet of karmic distribution. tattoos are martian, the planet of protection.

it’s divine timing. bc what the hell was that man thinking. i applaud whatever diviner encouraged his ass to get EZILI DANTOR of ALL loa permanently etched into his skin, because his abuses of children & women will follow him forever.

he’s currently in his seventh house year, the seventh house year is a year dealing with others, fairness, & balance. imo, it’s a karmic house since the seventh is a reflection of the self. what u put out is reflected back to u. he’s also about to enter his eighth house year, the house of inactivity, psychological illness, debts (including karmic).

his mars is also in capricorn at the 29°, which is a universally critical degree. it can show domineering, thoughtlessness, lack of control, impulsiveness, etc.

there’s no confirmation on his ascendant, but i’ve seen people suggest cancer ascendant (with a virgo moon & scorpio sun). that would mean that:

but i could totally see a 10h lord in the 7h, because it shows status is tied to relationships / justice / fairness

i also see charts floating around suggesting that he’s a capricorn ascendant, which i also think makes sense because of:

a first house mars

a 10H in libra shows that the public image is tied to fairness, grace, harmony, & relationships especially to women

my partner was like “maybe a sag rising,” mind u… my partner not an astrologer but they are super intuitive with that 3h scorpio moon so i considered it & lowkey…

pisces eclipse illuminating the 4th would mean that all of the illusions revolving around his private life are dug up. the 4h is the subterranean, it’s the least visible house imo

2h mars in capricorn @ the anaretic degree can show a thirst for power, but the 2h is the gate of hades. it leads to demise (the 8h)

8h lord would be in the 10h, which would show this hidden misdeeds becoming publicized preceding the eclipse in his 4h, since the natal 4h lord would be the eclipsing pisces moon. hope that made sense lol

i often see pisces rising speculation. which, i also could understand because:

this recent full moon lunar eclipse conj his north node illuminated & essentially “exposed” his heart/spirit/soul. it also exposed the qualities of the greedy, obsessive, manipulative north node

& this isn’t to say all nodal people are this way. but when u don’t know how to moderate the greedy & obsessive nature of the north node, its malefic qualities will overtake the self

pisces ascendants tend to not really be ‘seen’, especially with the lord in the unseen 8H. but again the eclipse illuminated this & just how corrupted his moral compass is

the other end of the eclipse would be in his 7H, the house of justice, which would have his moon conj the transit sun

lastly i can see aries rising because the eclipse in the twelfth exposes the consequences and results of self-undoing. it’s also the house of prisons.

anyway. just my theories. i stand in solidarity with all abuse victims of the world, & it feels good to see them get justice because a win for one is a win for all. Asè

here are some aid resources for marginalized abuse victims, please consider donating or reblogging!

Black Trans Femme SA/Abuse Victim. this gfm hasn’t moved in 5 months!

Black Childhood SA Victim. this gfm has been up since april & hasn’t gotten a single donation!

Aid for Haiti.

Aid for First Nations/American Indigenous People (Salt Lake).

Aid for Gaza. every day, isntrealis abuse Gazans (in a lot of ways, not just sexually). please consider helping them thru providing healthcare & aid

Aid for Sudan. refugees often experience higher rates of trafficking, rape, & violence. please consider donating!

Aid for DR Congolese Women/Children. consider giving aid to women/childre who are being forced into slavery & the exploitative sex trade.

Aid for Sex Workers. thru whorephobia, misogyny, & other forms of marginalization, the violence towards sex workers is enabled due to the “less dead” theory.

Support for SA/Rape/Trafficking Victims.

Consider donating to abortion funds such as AidAccess, INeedAnA, etc so that people (including rape victims) have autonomy over their reproduction.

avoid red cross. u can always scroll thru gfm & just search up keywords then just go through and donate $5+ to each one until u can’t no more. that way, u directly provide aid.

also, help the people within ur physical community. if u know any black, native, palestinian, trans, disabled etc women, be the community they are so often denied.

power 2 da people :)

[outfitqueer]

For many trans individuals, furries hold a special significance.

It's not just about anthropomorphic animals; furries represent a way to explore and express identity beyond the constraints of societal norms.

A fursona allows trans people to embody characteristics that align with their true selves.

@outfitqueer 🏳️‍⚧️

Whether it’s a fox symbolizing agility or a wolf representing strength, these animal representations offer a safe and creative outlet for self-expression.

Furries challenge traditional notions of gender and identity.

Embracing characters that can be anything they imagine means trans individuals find freedom in expressing who they are, without being confined to binary expectations.

For trans people, furries symbolize more than just creativity—they represent the possibility of living authentically and exploring identity in a way that feels true to themselves.

Furry is a powerful reminder that identity can be as diverse and unique as the characters they create.

The furry community provides a supportive environment where trans individuals can freely explore and affirm their identities.

Interacting with their fursonas, means that trans people can navigate their personal journey in a space that celebrates individuality and self-discovery.

The diverse array of fursonas reflects the rich spectrum of identities within the trans community, highlighting the vastness of human experience.

Creating and inhabiting a fursona allows for an imaginative exploration of gender and identity, breaking free from conventional boundaries.

The furry world demonstrates that self-expression and identity are boundless, affirming that every individual’s journey is uniquely their own.

The sense of belonging found in the furry community can be especially empowering for trans individuals, offering solidarity and understanding.

@outfitqueer 🏳️‍⚧️

[kylieswift31]

My. Space.

"Cooler in theory,

but not if you force it to be"

‘Unus pro omnibus, omnes pro uno’ is a phrase more commonly known as ‘all for one and one for all’. It has long been associated with the tale of the three musketeers and is the unofficial motto of Switzerland.

This concept epitomises the sense of solidarity that can be reached when the individual acts in favour of the group and the group acts in favour of the individuals.

While this sounds promising in theory for the majority, in reality it can create a trap of self enforced conformity for the minority.

Most of us in this minority inherently drift apart from the majority due to a deeply rooted feeling that we don’t belong in some way. Often times learning ways to hide the parts of ourselves that are frowned upon by the collective as we float around on the periphery.

And it can take years to discover the correct language to use that accurately describes our experiences. What comes next is often not within our control as we’re forced to coexist with those who disapprove of our truth and lack of conformity.

“Maybe I'm losing my mind, but it feels like the whole world revolves around me somehow.” -Truman

In the Truman show ‘unus pro omnibus, omnes pro uno’ is proudly displayed as the motto for the town of Seahaven, but it’s really just an ever-present subliminal message to reinforce Truman’s contribution to benefit the collective.

The director of the show was clouded by his desire to create something good to share with the world. Yet this inspirational message was never supposed to be used as a threat or an excuse for one person to carry the weight of the collective all alone.

That turns into ‘one for all’. Full stop. It was the realisation that the pressure to conform by giving more and more of himself to entertain the masses was a never ending cycle that ultimately became Truman’s tipping point and what finally motivated him to leave.

“So tell me everything is not about me. Butwhat if it is?” -Taylor

This experience is not unique to Truman’s fictional character. It’s actually a fine line that many of us face in our own ways. And it’s this prior experience that allows so many of us to see the same type of pain in Taylor being reflected back at us.

The key to overcoming this imbalance between the ‘all for one and one for all’ is rediscovering community. We often begin with a jumble of stories collected along the way that morph into a label. And it’s this label that allows us to find our people, to find where we belong.

The evolution of the internet and social media created online spaces that allowed many of us to coexist in communities where the minority suddenly became the majority. MySpace in particular encouraged everyone to personalise their page to create a reflection of themselves.

With the rise of other platforms, conformity gradually took over and individuality was slowly left behind. Regardless of how big or small a group becomes, uniformity amongst the majority seems to be the goal.

The Taylor Swift fandom isn’t immune to this either. We’ve all centred Taylor in our own versions of ‘all for one and one for all’ but have branched out to create varying subsections that fall under the swiftie or gaylor umbrella.

When all of these variations overlap and mingle together it creates a never ending Venn diagram, and it’s that same overlap that feels both communal and isolating all at once. The sweet spot lies with finding a balance between valuing unity and individuality.

I myself fall into the gaylor, idgaflor, performanceartlor and thetrumanshowlor communities. I also view Taylor’s story through a female, queer, neurodivergent and chronic illness lens. The combination of these facets is what makes my interpretations unique.

I’d love to invite you to consider where you fit into the community. What makes your point of view unique? The more we can recognise and celebrate the diversity within the gaylor community, the more united we will all feel in preparation for the turbulent times ahead.

When Taylor invited us to go down the rabbit hole with her I never expected to discover, let alone join in with, this amazing community. I love each and every one of you for being here. Wether you’ve inspired thoughtful conversations, made me laugh or just liked my posts, thank you 🫶🏼

‘Unus pro omnibus, omnes pro uno’

A tortured poet,

Kylie x

[brainbuffering]

Disability Discrimination in Anime Dubbing

Disabled Characters are becoming more and more common in manga in recent years, with releases such as “A Sign of Affection”, “Ranking of Kings”, and “Josee, and the Tiger and the Fish”, all getting Anime Adaptations! However, only one of these series features a Disabled actor in the lead role. That being Emily Fajardo in Ranking of Kings (directed by Caitlin Glass) as Bojji. Emily has (understandably) undisclosed disabilities, and has said how ecstatic and proud they were to get to play a disabled role - a sense of triumph and emotion I do not wish to take away from them. However their disabilities do not match those of the character they play. Bojji is non verbal and deaf, Emily is not. 

Yet this is a vast improvement upon the continuing apparent refusal to find disabled actors. There is a solidarity found amongst disabled people, and whilst our experiences in this world are different, we have a shared history. A shared understanding of what it is like to live in a world that rejects you. Be that the epileptic teen who can't go to the cinema with their friends, or the wheelchair-using adult unable to find a job because nobody sees their value. 

The only time I can think of where a Disabled Anime Character has been voiced by someone with a matching Disability was Lexi Marman Cowden in “A Silent Voice” as Shoko. Lexi’s performance was absolutely incredible, heartfelt, and true in every sense. Comparing her performance to that of her able bodied Japanese counterpart (Saori Hayami) you can tell that Lexi has real life experience to draw on, her emotions feel real. It's obvious that Lexi has been through what Shoko has. It's why, despite its flaws as a story, I still consider “A Silent Voice” to be one of the best ever English Dubs. They bought something new to the series that the Japanese team didn't. Stephanie Sheh and her colleagues at NYAV Post understood the need to have stories told by the people they're meant to represent - a sentiment that has bled through into their other work such as casting Trans Actress Shakina Nayfack as Hana in “Tokyo Godfathers”. 

And whilst this wonderful dedication to accurate casting in terms of gender, racial, and sexual minorities is being reflected throughout the industry – for example the Majority POC Dub of “Horimiya” and the Majority Queer Dub of “Given” – it is simply not being reflected with regards to Disabled People who are once again left out in the cold. It also feels incredibly hypocritical and hurtful to see people criticise non-accurate casting within some minorities, and completely ignore it when disabled people are involved. 

An example of this would be “Josee, the Tiger, and the Fish”. Whilst it is to be celebrated that there was a Majority POC cast in the film, director Jerry Jewell still chose to cast an able bodied actress in the titular role of Josee, a wheelchair user. Suzie Yeung’s performance very much felt like that of an Able-bodied person mimicking a disabled person. Whereas Lexi had real life experience to draw upon, Suzie was making it up as she went along. This was especially clear to me when Josee was forced to self-hoist for the first time. 

Suzie played it as a tragic moment of upset frustration and proof that Josee needed help but was too stubborn to ask. Meanwhile, my own experience as a person with Myasthenia Gravis was that the first time I collapsed and couldn't stand up on my own, being able to clamber from the floor to the sofa was a moment of personal triumph. This is an emotion I have heard other disabled people talk about. It's not proof of helplessness, it's evidence that you do have strength, power, and independence. Yes, part of this was probably just the way the film was made, but I still felt that a disabled actor with mobility issues would have understood the nuances far better, and would have made for a better film. 

At the time, I said I would only forgive Director Jerry Jewell for casting an Ablebodied Actress in a Disabled Role, if he hired a Disabled Actress for an Able-bodied role… which he did later the following year when he cast the wonderful Risa Mei (who has dwarfism) as the protagonist in “My Senpai is Annoying”. Whilst this his was not Risa’s first role at Funimation (now Crunchyroll) having played Shirley/Rum in “Shadow’s House” and Nadila in “Kakushigoto”, it was her first lead role. The anime itself didn't have the best reception, however Risa has continued to be cast in more and more roles across the Anime and Gaming World including more Popular Series like “My Dress Up Darling”, “Sing a Bit of Harmony”, and the upcoming “Sand Land” Video Game by Dragon Ball Creator Akira Toriyama. 

I had hoped that perhaps this would lead to more disabled actors breaking through into the industry! That Lexi had proven, without a shadow of a doubt, that Deaf people could do Dubbing and do it better than Hearing People! That Risa had proved that there are thousands of talented disabled actors out there if you were just willing to look! Yet with the announcement of Lara Woodhull as Yuki in “A Sign of Affection” it is clear to me that Voice Over still has a long way to go with regards to hiring disabled people. Which is a real shame, since you would think that the success of remote recording during the ongoing pandemic would allow for more disabled (and especially immunocompromised) actors getting cast. 

Many would argue that I am perhaps being hypocritical here. If I am saying that disabled voice actors can play able-bodied roles, then why can’t able-bodied people play disabled roles? This is perhaps a fair question, but from my perspective, disabled people are fully aware of what it is like to be able-bodied. Many of us are already forced to act as if we are, or have had to experience going from being able-bodied to being disabled. So where as disabled people absolutely have the life experience needed to play non-disabled roles, able-bodied people do not. 

This isn't to say that there has never been any examples of non-disabled people playing disabled characters well! Eun-bin Park as Woo Young-Woo in the Korean Courtroom Drama “Extraordinary Attorney Woo” springs to mind. Her performance as the Autistic Woo was incredibly well researched and prepared for. She took great care to talk to real-life autistic people to play the role as authentically as possible. However, this is an exception, not a rule. The majority of able-bodied actors are not willing to put in the same level of time and effort that Eun-bin has.  Equally, Disabled people should still be able to speak for themselves, and not have able-bodied people control the entire narrative. 

An argument is often made that Disabled People do not have enough experience to play lead roles. However, how are actors meant to get this experience if they are not even being cast to play themselves? And surely Lexi once again stands as an example of how someone with no experience in Voice Acting or Dubbing can give award worthy performances?

It is perhaps especially sad that no Hard of Hearing actors have been cast in “A Sign of Affection”, since it would have been the perfect dub to start out on. Due to trauma related to how her voice sounds to others, Yuki has an entirely internalised monologue. This means that the actor playing her doesn't need to match any mouth flaps. This makes things much easier for those new to dubbing, as it allows them to focus on just their acting rather than the more technical side of things. 

Where as some might argue that Yuki’s internal monologue means that it would be ridiculous to cast a person with a Deaf Accent. Ignoring the obvious fact that Yuki may very well have a Deaf Accent in her internal monologue, and that it's down to Hearing People to learn to understand those accents, many d/Deaf people do not even have that accent! Not all d/Deaf folks are born without hearing, many lose it later in life and so maintain their original accents. Equally, not all d/Deaf people are completely without hearing, hence the term “Hard of Hearing”. They might still have full hearing in one ear, or have cochlear implants to improve their overall hearing before it gets to the point of complete loss. Not to mention the increasing effectiveness of regular hearing aids. Whilst naturally a person who has partial hearing is going to have a different lived experience to someone who was born without hearing like Yuki, they would still have far more in common with the character than an Able-bodied actor would. 

It would simply appear that Dub Directors like Jason Lord are simply not willing to put the effort in to find Disabled Talent. But we are out there! We’re working hard and making moves. We’re doing everything that able bodied actors are doing, backwards and with wheels. There are over 350,000 d/Deaf people living in Texas, I am certain at least one of them has a passion and talent for acting. 

So please. Let the Blind Samurai be voiced by a Visually Impaired Person. Let the Robot Armed Star Fighter be played by a person with a prosthetic. Let the sweet deaf girl who is falling in love and discovering the world for the first time through her own hard work and the support of her friends as it becomes accessible to her for the first time, be played by someone who knows exactly what that feels like. 

I do not want to have to write another post like this when the next series with a Disabled Protagonist is announced. I want to be allowed to join in with your celebrations, and not to left looking in through the window as I sit on my scooter in the cold wet rain. Once again refused entry to the party because of the elaborate staircase built by able-bodied people.

[omegaphilosophia]

The Philosophy of Hip-Hop

Hip-hop, a cultural movement that began in the Bronx, New York, during the 1970s, encompasses a variety of elements including music (rap), dance (breakdancing), visual art (graffiti), and fashion. The philosophy of hip-hop extends beyond these elements, reflecting deep socio-political, cultural, and existential themes. Here's an exploration of some core aspects of the philosophy of hip-hop:

1. Self-Expression and Authenticity

At its heart, hip-hop champions self-expression and authenticity. Artists often share personal stories, struggles, and triumphs through their lyrics, dance, and art.

Authenticity: Hip-hop values "keeping it real," meaning that artists are expected to stay true to their personal experiences and cultural roots.

Narrative Power: Through storytelling, hip-hop provides a voice for marginalized communities, allowing them to share their unique perspectives and experiences.

2. Resistance and Rebellion

Hip-hop has always been a form of resistance against social, political, and economic oppression.

Social Commentary: Many hip-hop lyrics critique systemic injustices, including racism, poverty, and police brutality.

Empowerment: Hip-hop encourages empowerment and resilience, motivating individuals to overcome adversity and fight for their rights.

3. Community and Unity

The hip-hop community is built on a sense of solidarity and collective identity.

Collectivism: Hip-hop culture fosters a sense of belonging and mutual support among its members.

Collaboration: Collaboration is a key component, with artists frequently working together to create music, art, and dance.

4. Innovation and Creativity

Hip-hop is characterized by its innovative and creative spirit.

Sampling and Remixing: Hip-hop producers often sample existing music to create new tracks, showcasing creativity and respect for musical heritage.

Evolution: Hip-hop continuously evolves, incorporating new styles, sounds, and technologies, reflecting its dynamic and adaptive nature.

5. Cultural Identity and Pride

Hip-hop celebrates cultural identity and pride, especially within African American and Latino communities.

Heritage: It honors the cultural heritage of its founders and perpetuates traditions through its various elements.

Pride: Hip-hop instills a sense of pride in cultural roots and promotes the celebration of diverse identities.

6. Education and Knowledge

Hip-hop often emphasizes the importance of knowledge and education.

Knowledge of Self: Artists frequently explore themes of self-awareness and personal growth.

Social Education: Hip-hop educates listeners about social issues and historical contexts, encouraging critical thinking and awareness.

The philosophy of hip-hop is multifaceted, intertwining themes of self-expression, resistance, community, innovation, cultural pride, and education. It serves as a powerful vehicle for social change, artistic creativity, and cultural preservation. By understanding these philosophical underpinnings, one can appreciate hip-hop not just as an art form but as a significant cultural and intellectual movement.

[dailyanarchistposts]

J.3.1 What are affinity groups?

Affinity groups are the basic organisation which anarchists create to spread the anarchist idea. The term “affinity group” comes from the Spanish F.A.I. (Iberian Anarchist Federation) and refers to the organisational form devised in their struggles for freedom (from “grupo de afinidad”). At its most basic, it is a (usually small) group of anarchists who work together to spread their ideas to the wider public, using propaganda, initiating or working with campaigns and spreading their ideas within popular organisations (such as unions) and communities. It aims not to be a “leadership” but to give a lead, to act as a catalyst within popular movements. Unsurprisingly it reflects basic anarchist ideas:

“Autonomous, communal and directly democratic, the group combines revolutionary theory with revolutionary lifestyle in its everyday behaviour. It creates a free space in which revolutionaries can remake themselves individually, and also as social beings.” [Murray Bookchin, Post-Scarcity Anarchism, p. 144]

The reason for this is simple, for a “movement that sought to promote a liberatory revolution had to develop liberatory and revolutionary forms. This meant … that it had to mirror the free society it was trying to achieve, not the repressive one it was trying to overthrow. If a movement sought to achieve a world united by solidarity and mutual aid, it had to be guided by these precepts; if it sought to achieve a decentralised, stateless, non-authoritarian society, it had to be structured in accordance with these goals.” [Bookchin, The Spanish Anarchists, p. 180]

The aim of an anarchist organisation is to promote a sense of community, of confidence in ones own abilities, to enable all to be involved in the identification, initiation and management of group needs, decisions and activities. They must ensure that individuals are in a position (both physically, as part of a group, and mentally, as an individual) to manage their own lives and take direct action in the pursuit of individual and communal needs and desires. Anarchist organisation is about empowering all, to develop “integral” or whole individuals and a community that encourages individuality (not abstract “individualism”) and solidarity. It is about collective decision making from the bottom up, that empowers those at the “base” of the structure and only delegates the work of co-ordinating and implementing the members decisions (and not the power of making decisions for people). In this way the initiative and power of the few (government) is replaced by the initiative and empowerment of all (anarchy). Affinity groups exist to achieve these aims and are structured to encourage them.

The local affinity group is the means by which anarchists co-ordinate their activities in a community, workplace, social movement and so on. Within these groups, anarchists discuss their ideas, politics and hopes, what they plan to do, organise propaganda work, discuss how they are going to work within wider organisations like unions, how their strategies fit into their long term plans and goals and so on. It is the basic way that anarchists work out their ideas, pull their resources and get their message across to others. There can be affinity groups for different interests and activities (for example a workplace affinity group, a community affinity group, an anarcha-feminist affinity group, etc., could all exist within the same area, with overlapping members). Moreover, as well as these more “political” activities, the “affinity group” also stresses the “importance of education and the need to live by Anarchist precepts — the need … to create a counter-society that could provide the space for people to begin to remake themselves.” [Bookchin, Op. Cit., p. 180] In other words, “affinity groups” aim to be the “living germs” of the new society in all aspects, not purely in a structurally way.

So affinity groups are self-managed, autonomous groupings of anarchists who unite and work on specific activities and interests. This means that ”[i]n an anarchist organisation the individual members can express any opinion and use any tactic which is not in contradiction with accepted principles and which does not harm the activities of others.” [Errico Malatesta, The Anarchist Revolution, p. 102] Such groups are a key way for anarchists to co-ordinate their activity and spread their message of individual freedom and voluntary co-operation. However, the description of what an “affinity group” is does not explain why anarchists organise in that way. Essentially, these affinity groups are the means by which anarchists actually intervene in social movements and struggles in order to win people to the anarchist idea and so help transform them from struggles against injustice into struggles for a free society. We will discuss the role these groups play in anarchist theory in section J.3.6.

These basic affinity groups are not seen as being enough in themselves. Most anarchists see the need for local groups to work together with others in a confederation. Such co-operation aims to pull resources and expand the options for the individuals and groups who are part of the federation. As with the basic affinity group, the anarchist federation is a self-managed organisation:

“Full autonomy, full independence and therefore full responsibility of individuals and groups; free accord between those who believe it is useful to unite in co-operating for a common aim; moral duty to see through commitments undertaken and to do nothing that would contradict the accepted programme. It is on these bases that the practical structures, and the right tools to give life to the organisation should be built and designed. Then the groups, the federations of groups, the federations of federations, the meetings, the congresses, the correspondence committees and so forth. But all this must be done freely, in such a way that the thought and initiative of individuals is not obstructed, and with the sole view of giving greater effect to efforts which, in isolation, would be either impossible or ineffective.” [Malatesta, Op. Cit., p. 101]

To aid in this process of propaganda, agitation, political discussion and development, anarchists organise federations of affinity groups. These take three main forms,

“synthesis” federations (see section J.3.2), “Platformist” federations (see section J.3.3 while section J.3.4 has criticism of this tendency) and “class struggle” groups (see section J.3.5). All the various types of federation are based on groups of anarchists organising themselves in a libertarian fashion. This is because anarchists try to live by the values of the future to the extent that this is possible under capitalism and try to develop organisations based upon mutual aid, in which control would be exercised from below upward, not downward from above. We must also note here that these types of federation are not mutually exclusive. Synthesis type federations often have “class struggle” and “Platformist” groups within them (although, as will become clear, Platformist federations do not have synthesis groups within them) and most countries have different federations representing the different perspectives within the movement. Moreover, it should also be noted that no federation will be a totally “pure” expression of each tendency. “Synthesis” groups merge into “class struggle” ones, Platformist groups do not subscribe totally to the Platform and so on. We isolate each tendency to show its essential features. In real life few, if any, federations will exactly fit the types we highlight. It would be more precise to speak of organisations which are descended from a given tendency, for example the French Anarchist Federation is mostly influenced by the synthesis tradition but it is not, strictly speaking, 100% synthesis. Lastly, we must also note that the term “class struggle” anarchist group in no way implies that “synthesis” and “Platformist” groups do not support the class struggle or take part in it, they most definitely do — it is simply a technical term to differentiate between types of organisation!

It must be stressed anarchists do not reduce the complex issue of political organisation and ideas into one organisation but instead recognise that different threads within anarchism will express themselves in different political organisations (and even within the same organisation). A diversity of anarchist groups and federations is a good sign and expresses the diversity of political and individual thought to be expected in a movement aiming for a society based upon freedom. All we aim to do is to paint a broad picture of the similarities and differences between the various perspectives on organising in the movement and indicate the role these federations play in libertarian theory, namely of an aid in the struggle, not a new leadership seeking power.

[skeleton-mischief]

Skeleton AU Names Pt. 2

This is just for other AU's that I'll be working on, as I'll mainly focus on the main 14 over these guys frequently. Enjoy.

Mobtale/Mafiatale -

To Note! I have no real explanation why the Mob/Mafia AU's have their names other than that they were cool and fitting. I uh,,, didn't have much thought beyond that,,,

Mobtale/Mafiatale Sans: Bullet Serrif

Mobtale/Mafiatale Papyrus: Ace Serrif

Mobswap/Mafiaswap Sans: Azure Serrif.

Mobswap/Mafiaswap Papyrus: Canary Serrif

Mobfell/Mafiafell Sans: Calibur Serrif

Mobfell/Mafiafell Papyrus: Vermillion Serrif

Swapfell Red Sans: Noir Serrif

Swapfell Red Papyrus: Smokes Serrif

Swapfell Purple Sans: Mal Serrif

Swapfell Purple Papyrus: Slim Serrif

Outertale -

Outertale Sans: Cosmic Serrif. I thought it would be kinda funny that he would name himself Cosmic because when he finds out how similar he and Vanilla are, the two progressively end up making a connection to Comic Sans becoming a pun with "Cosmic."

Outertale Papyrus: Comet Serrif. Fast, energetic, and bright - Comet got his name out of inspiration. He actually was able to pick what name he wanted quickly as a result

Farmtale -

Farmtale Sans: Basil Serrif. Basil is a type of plant that is suspected to have mild sedative properties that affect mood and ease things such as depression, anxiety, and sleeping problems. Wonderful for foods, teas, etc, he thought that the name itself was just perfect for him. He's a very laid back character, so it works along with the fact that his magic happens to be green

Farmtale Papyrus: Juniper Serrif. The word juniper comes from the Latin word juniperus, which means "to produce." The name symbolizes life, growth, and it's known to be a resilient plant. So, what better name could he go for that's based off a plant like his brother and that perfectly captures his excellence?

Gtale(?) -

G!Sans: Marigold Serrif. Like his magic, it is a bright flower that often symbolizes power, strength, and light. It is also said that Marigolds are thought to attract souls. Back then in the Victorian Era, where the Language of Flowers prospered, marigolds often were about grief and sadness, often put in bouquets as a way of expressing kindness and solidarity. He would have chosen this name as a sort of gesture of withholding the memories of not only Gaster, but of all that lie underground as they vanished. He is a withdrawn and self reflective individual, it makes sense he'd choose it as it holds significant meaning to him

G!Papyrus: Sage Serrif. The name means wise, or prophet in Latin terms. The plant is commonly also used in practices that include burning it in order to connect to the spiritual world or enhance intuition. His magic is green, so to specifically focus on green Sage reveals that it represents wisdom, intelligence, and experience. When part of Gaster's soul fused with his own, not only did he grow more knowledge, but he progressively became a mixture of both personalities. So, sage was the perfect inspiration for him

Fashiontale -

For context: I do not like anything from the original AU Underlust It was a proshipping hellhole that I do not like and honestly most of the designs if not all of them are not to my personal liking. So, as a result I took some inspiration of what it was "going for" and decided to make my own little AU like spin on it. So, to get a slight idea, this is where these two come from

Fashiontale Sans: Cupid Serrif. The God of desire, attraction, affection, and erotic love. It's a fitting name for him because of his popularity underground for his performances and his ability to attract all the things that the God Cupid is capable of. He would only want such a pretty name for a pretty face

Fashiontale Papyrus: Desi Serrif. Desi comes from Desire, shortened to a simple sweetness. It also is a name meaning "yearning, sorrow, or desire." With all of this, what really pushed him to choose this name is because of the Desi Roses, a garden rose variety that is known for its strong scent. Everyone already knows the symbolism of roses, so this was just the perfect name for him

Apple Brothers:

I have no desire to change their names, since they're such solid ones. However, below, I decided to add little nicknames that were technically their own "names" when the two were children

Dream: Sunny or Dreamy, which used to be used by Nightmare when the two were children

Nightmare: Nicknames he had from Dream were ones such as Nighty or Moony. ("oh like FNA-" "shhh shhh shh shh. Shh")

Glitch:

Glitched Swap Sans: Blooper. He was not meant to be an outcode, let alone meant to even be in the void to begin with. A stumble of steps, a missed line, a missed frame. The dictionary states that Blooper means "an embarrassing error" "a mistake" and I think that perfectly encapsulates him entirely. How he feels, how he was created. There's a lot I personally changed in his character, but I wanted to name him Blooper since not only is it fitting, but because it also is a small nod towards "Blueberror", which was his original name

Closing Thoughts:

I plan to just keep the rest of the names that we have for other popular AU's such as Ink, Reaper, Dust, Killer, Error, Geno, and Cross.

[lennnypooh]

Sister Act (1992)

Directed by Emile Ardolino in 1992, Sister Act is a comedy film starring Whoopi Goldberg as Deloris Van Cartier, a lounge singer who witnesses a murder and is placed in protective custody in a convent. Disguised as a nun, Deloris clashes with the strict Mother Superior (played by Maggie Smith) but ultimately helps transform the struggling choir into a musical sensation. Along the way, Deloris finds redemption, friendship, and a sense of purpose. The film combines humor, music, and themes of empowerment and sisterhood to deliver an uplifting and entertaining story.

Deloris' backstory in Sister Act reveals a poignant journey from her childhood in a Catholic school to her adult life as a singer in Reno. As a child, Deloris attended a Catholic school, presumably imbued with the teachings and traditions of the Church. However, for reasons undisclosed in the film, she ultimately departed from that environment, symbolizing a rupture in her connection to her faith and the Church.

Years later, Deloris finds herself pursuing a career as a singer in Reno, embodying a lifestyle far removed from her religious upbringing. Her departure from the Church as a child and her subsequent immersion in secular pursuits represent a thematic departure from spiritual values and community ties. However, the narrative arc of Sister Act intricately weaves Deloris' return to the Church into its storyline. When Deloris becomes a witness to a crime and is placed in protective custody in a convent, she is forced to confront her past and reconcile with her roots. Through her experiences within the convent, particularly her involvement in revitalizing the choir, Deloris undergoes a profound personal and spiritual transformation.

The film eloquently explores Deloris' initial apprehension towards convent life, juxtaposed against the urban landscape of San Francisco. This juxtaposition serves as a metaphorical reflection of societal disarray, wherein the Church stands as a beacon of hope amidst urban decay. Deloris' transformative impact on the choir symbolizes the catalytic force of individual agency within communities undergoing profound change. Through the medium of music, both Deloris' internal pilgrimage and the city's socio-cultural metamorphosis converge, highlighting the transcendent power of artistic expression to inspire collective renewal and redemption.

What are the social aspects within the film’s narrative that align with the film’s songs? 

The social aspects within the film's narrative align with the film's songs in several ways. 1. Empowerment and Self-Discovery: Many of the songs in the film convey themes of empowerment and self-discovery, mirroring Deloris' journey as she finds her voice and purpose within the convent. Songs like "I Will Follow Him" and "My God (My Guy)" reflect Deloris' transformation from a self-absorbed performer to a woman who finds fulfillment in helping others and embracing her newfound community. 2. Unity and Sisterhood: The film's songs often emphasize themes of unity and sisterhood, echoing the bonds formed among the nuns despite their differences. Songs like "Hail Holy Queen" and "Just a Touch of Love" celebrate the camaraderie and support found within the convent, highlighting the importance of solidarity in overcoming challenges. 3. Redemption and Forgiveness: Through songs like "Bless Our Show" and "If You Wanna Be Somebody," the film explores themes of redemption and forgiveness, emphasizing Deloris' journey towards redemption as she confronts her past and seeks forgiveness from both herself and others.

How do the historiographies of previously recorded songs inform audience relationships with the musical’s narrative and performers? 

As for the historiographies of previously recorded songs, they inform audience relationships with the musical's narrative and performers by adding layers of familiarity and nostalgia. Many of the songs featured in Sister Act are well-known hits from the 1960s and 1970s, such as "I Will Follow Him" by Little Peggy March and "My Guy" by Mary Wells. These songs evoke memories and associations from the past, connecting audiences to the film's setting and characters on a deeper level. Additionally, the use of familiar songs allows the film to play with audience expectations and reinterpret these songs within the context of the narrative, in this case changing love songs into songs praising God, creating moments of surprise and delight.

What musical genre/style drives the film’s score, and how does the genre/style (re)define the film as a musical? 

The musical genre/style that drives the film's score is primarily gospel, with elements of soul and R&B. This genre/style redefines the film as a musical by infusing it with a vibrant energy and spiritual resonance that complements the themes of redemption and sisterhood. The use of gospel music not only adds authenticity to the setting of a convent but also elevates the emotional impact of key moments in the narrative. Furthermore, the incorporation of soul and R&B elements reflects the diverse backgrounds of the characters and contributes to the film's infectious sense of joy and celebration. Overall, the fusion of gospel, soul, and R&B genres in the film's score creates a dynamic musical experience that enhances the storytelling and leaves a lasting impression on audiences.

Deloris' journey of rediscovery and reconciliation mirrors the larger theme of redemption and the cyclical nature of faith. Deloris' return to the Church symbolizes not only her individual reconciliation but also a broader exploration of forgiveness, belonging, and the enduring power of faith to guide one back to their true self. In essence, her departure from and eventual return to the Church serve as a narrative framework through which the film explores themes of identity, redemption, and the enduring journey towards spiritual fulfillment.

[okthatsenuf]

As a Black woman, watching the outcome of the recent election has stirred up a profound sense of disappointment. It’s not only the results themselves but the layers of deception and betrayal that came with them, especially from communities that claimed to stand together. Many Black women invested hope, energy, and belief into the idea that change was not only possible but imminent. We campaigned, raised awareness, and fought tirelessly, often believing that others – especially white women – who presented themselves as allies would stand in solidarity for a future where we all thrive. Yet, in the voting booth, it seems many chose otherwise. It’s a painful reminder that allyship can often feel like a performance for some, an act that fades away when it's time to make the sacrifices required for real change.

It’s particularly disheartening to feel the sting of betrayal from white women who aligned themselves with our causes in public yet voted to uphold systems that continue to oppress Black communities. Some seemed to go through the motions of allyship, signaling support but ultimately protecting their own privileges when the stakes were high. This behavior reinforces a sad but long-understood reality: for many, privilege can overshadow empathy, and solidarity can be conditional, only offered when there’s little to lose. This duplicity is not only disheartening but feels like an insult to the hard work, risks, and sacrifices Black women constantly make, both for ourselves and for society at large.

Adding to the pain is the recognition that misogyny and patriarchy remain pervasive across racial lines. Many Black men, who share our struggles and should understand the necessity of change, have chosen to side with those who uphold these damaging power structures. While our shared history of racial oppression should ideally create unity, the residue of generational traumas and learned behaviors has led some Black men to adopt views about power and gender that echo the very systems that oppress them. It’s as if a “slave mentality” has woven itself into the fabric of some men’s outlooks, pushing them to seek status and validation in a society that disrespects Blackness but rewards the semblance of dominance and control. This alignment with patriarchy at the expense of Black women weakens the broader fight for equity and justice.

The breakdown of voter demographics in this election reveals a hard truth about the realities of power and privilege in the so-called "land of the free." Despite the nation’s claims of progress and equality, the results underscore how America, as the self-proclaimed "leader of the free world," often falters in standing by these ideals when it matters most. The numbers tell a striking story: rather than rallying behind candidates with qualifications, vision, and policies that support a more inclusive, equitable future, large groups of voters—across racial, gender, and socioeconomic lines—chose instead to reinforce the status quo. It's a painful reminder that for many, the preservation of hierarchy, however flawed, still outweighs the potential for transformative change.

Equally disheartening is the high percentage of Latinx women who voted against their own interests and the interests of their families and communities. The choice to support policies that negatively affect them as mothers, sisters, and wives mirrors an ingrained loyalty to systems that, historically, have not reciprocated that loyalty. For some, it seems there is a desire to stay in the "good graces" of those in power rather than stand with their communities to demand better. This dynamic—a willingness to compromise collective well-being for the illusion of acceptance or protection—is, unfortunately, a reflection of how deeply-rooted structures can influence personal and political choices. It shows just how complex and pervasive the fear of losing favor or perceived status can be, even when that favor comes at a great cost.

Now back to our black men who face challenges unique to their gender and race, often disproportionately affected by systemic violence and economic inequities. Yet, who stands by them more faithfully than Black women? When Black men are mistreated by the system, whether it be police brutality, unjust incarceration, or racial discrimination, it is Black women who march, speak up, and advocate for them—often at great personal risk. And yet, when the tables turn, when Black women rise to lead, our accomplishments are frequently met with suspicion or outright resistance. What fear of Black women’s strength lingers in some hearts? Why does their rise feel like a threat rather than a shared victory? For too many, it’s as if the same social conditioning that shapes prejudice and doubt in the dominant society has seeped into our own community, creating barriers to our solidarity.

This resistance to Black women’s success is tied to a societal conditioning that values male dominance and control, and unfortunately, the scars of this conditioning run deep. For some, a Black woman’s ambition challenges a fragile sense of power in a world that routinely undermines Black men. But true strength lies not in keeping others down but in rising together. Black women hold Black men down not only in times of crisis but every day. When economic opportunities are scarce, Black women stand by them. When self-worth is questioned, they lift them up. They nurture and empower while being fiercely resilient, bearing the brunt of both racial and gendered adversity. And yet, in the face of all this, they still champion the cause of Black men, no matter how exhausting the fight may be.

So, to Black men, the question remains: who will stand with you when you are economically disadvantaged, beaten down, and in need of someone who values your worth beyond what society says you’re worth? Black women have proven time and again that they will, no matter the cost. But we need to ask: who will stand with Black women? True solidarity means not only protecting one another but celebrating each other’s victories and trusting each other’s potential. As Black women continue to rise, they do so not just for themselves but for their communities, for the people who need them most, and for the promise of a stronger, more unified future. It’s time for everyone to embrace that strength rather than fear it, for it is the same strength that uplifts us all.

As we move forward, we now face the reality of what the next four years may bring. The consequences of this choice are not just abstract political implications—they’re likely to show up in very tangible, everyday ways. With this outcome, we must brace ourselves for the potential rise in domestic terrorism, policies that undermine our liberties, and a deepening of divisions across communities. For those who could have chosen differently but didn’t, remember this: when turmoil reaches your doorstep, when the very freedoms you thought would remain untouched are compromised, know that there was an opportunity to choose a different path.

This outcome is more than a political shift; it is a turning point with real repercussions for our safety, our rights, and our futures. The foundations of democracy and equality that many have fought for, bled for, and even died for are not immune to erosion. And for those who cast their votes out of fear, convenience, or a misguided sense of loyalty, remember that this moment will carry a cost—a cost that may be measured in hardships that could have been prevented, in freedoms that might be lost. When that reality sets in, it’s important to recognize that you had the chance to stand up for something better, to reject fear and division, and to choose a path of genuine solidarity and justice.

The power of choice is something not everyone has. But for those who did, the decisions made in this election will echo through lives and communities. It’s a painful truth that these choices may lead to struggles and sacrifices, especially for those who already carry the weight of discrimination and inequality. When these trials arrive, remember: there was a choice. There was a chance to stand together, to uplift leaders who genuinely fight for all of us, and to protect a vision of unity and equity. Now, as we face what may come, the hope is that more will learn from this and find the strength to choose differently in the future. For now, it’s time to prepare, to organize, and to remember that resilience has always been our greatest strength.

Sincerely, A disappointed, disheartened, but still standing strong Black woman

[anarchywoofwoof]

So what can we say about the general outlines of a stateless society? First, it will emerge as a result of the ongoing exhaustion, hollowing out and retreat of large hierarchical institutions like state, corporation, large bureaucratic university, etc. It will generally be based on some kind of horizontalism (prefigured by movements like the arab spring, m15 and occupy) combined with self-managed local institutions.

Second, its building blocks will be the counter-institutions cropping up everywhere even now to fill the void left as state and corporation erode: community gardens, permaculture, squats, hackerspaces, alternative currency systems, commons-based peer production, the sharing economy, and in general all forms of social organization based on voluntary cooperation and new ultra-efficient technologies of small-scale production.

And third, to the extent that it reflects any common ideology at all, it will be an attachment to values like personal autonomy, freedom, cooperation and social solidarity. But the specifics will be worked out in a thousand particular ways, far too diverse to be encompassed by any verbal model like “communism” or “markets” (in the sense of the cash nexus)

Ⓐ ... ... ... Ⓐ ... ... ... Ⓐ

Any post-state society will include both individuals and communities adhering to many conflicting ideas of just what “freedom,” “autonomy” and “rights” entail.

Whatever “law code” communities operate by will be worked out, not as obvious logical deductions from axioms, but through constant interaction between individuals and groups asserting their different understandings of what rights and freedom entail. And it will be worked out after the fact of such conflicts, through the practical negotiations of the mediating and adjudicating bodies within communities.

In other words, we need to spend less time like Thomas More drafting out all the details of a future libertarian utopia, right down to the food and architecture, and spend more time talking to our neighbors and figuring out ways of cooperating and getting along without the state telling us what to do.

Kevin Carson, Anarchism without Adjectives, 02/02/2015

[vampiressmoney]

AI Advice re: being upset with a band who is now charging so much you can't go see them anymore. #bored

TLDR: Feeling upset when a band raises concert prices shows your deep emotional connection to their music and highlights financial concerns. Stepping back can protect you from disappointment, but exploring alternatives and self-care are crucial for moving forward positively.

----

When a band you could always afford to see in the past starts charging more for their shows, it can feel particularly jarring and disappointing. Here's what this might reveal about your feelings and perspective:

1. Sense of Exclusion

You might feel excluded or left out when a band you previously had easy access to now seems financially out of reach. It can feel like they are catering to a different, perhaps more affluent audience.

2. Change in Accessibility

There's a sense of loss or nostalgia for the times when attending their shows was straightforward and within your budget. The change in affordability disrupts that familiar and enjoyable experience.

3. Financial Impact

This change can highlight financial concerns or limitations you might be facing. It’s not just about missing out on a concert—it’s a reminder of broader financial pressures or changes in your circumstances.

4. Personal Investment

You've likely invested emotionally in this band over time, attending their shows and supporting their music. When that investment feels threatened or inaccessible, it can evoke strong emotions like disappointment and frustration.

5. Value and Appreciation

You deeply appreciate the band's music and what they represent to you. Feeling priced out may challenge your perception of their value or their connection to their fans.

6. Adaptation and Coping

Your reaction reflects a desire to maintain a sense of control over your emotions and experiences. By stepping back from the band, you're protecting yourself from ongoing disappointment and frustration.

Moving Forward

Navigating these feelings can be challenging, but it’s also an opportunity for reflection and growth:

Explore Alternatives: Look for other bands or live music experiences that align with your current budget and interests. There are always new opportunities to discover music that resonates with you.

Prioritize Self-Care: Focus on activities and hobbies that bring you joy and fulfillment, whether they involve music or other interests.

Financial Planning: Consider budgeting for concerts or saving up for special events that are meaningful to you. This proactive approach can help alleviate some of the stress associated with unexpected changes in ticket prices.

Community and Support: Connect with fellow fans who share similar sentiments. Sharing experiences and finding solidarity can provide comfort and perspective.

Enjoy Music in Different Ways: Remember that music can be enjoyed in various forms—listening to albums, watching live streams, or attending smaller, more affordable shows.

Your reaction is understandable and shows your deep connection to music and your desire for fairness and accessibility. By acknowledging these feelings, you’re taking steps to navigate and manage them effectively.

[linkspooky]

I do wonder if Nobara do return— And that’s a big if since it’s been a hot while we last heard about her— What would be her role?

Or not necessarily role, since she does have a unique ability to damage the soul. But more like… character arc I suppose?

Like some people would theorize that Nobara could possibly help Maki from spiraling. However, I personally believe it makes much more narrative sense that it would be Yuta that does it.

I must think that Nobara would possibly go through her own arc. But my question is how?

Since I thought her arc is to be less judgmental with her black and white thinking and expand her world view. But the only person that I can think would challenge Nobara on this is Mai. Since Nobara judged Mai harshly despite the fact that she too was a victim like Maki.

But then like… Mai died so… now what?

Okay, so all the reasons Nobara might come back, and some of the reasons she might not. 

Let’s start with why she might not. By the way I’m not arguing whether or not she’ll come back, because in my mind it’s a very strong “...Maaaaaaaaybe?” so it’s just easier to list arguments in support or against. 

This is definitely the biggest reason why it would be hard to reintroduce Nobara back into the story. Part of this is Gege’s fumbling his handling of female characters, simply put Mai and Miwa are characters who are better written with way less screentime because they both have obvious character flaws, a character arc is built around a flaw the character has that they either have to work on or face the consequences. 

In comparison to Noara, Megumi and Yuji have clear flaws. Megumi is at times borderline suicidal, he’s really emotoinally unhealthy, he picks and chooses between the people he saves and he lets die. He has a lot of connection to bigger plotlines in the Jujutsu World, the Zenin Clan, his legacy as Toji’s son. 

Yuji also has a major flaw of being self sacrificing and has little self worth, he prioritizes other people far above himself, he has a character conflict around finding a way to die, being a little too willing to die, acting like he has little agency or that he’s individually worthless and much preferring to be a cog in society, he’s also continually dealing with Sukuna’s machinations from inside his own body. 

They have clear flaws and they’re connected to the world around them, in comparison Nobara seems a little tacked onto the trio as an afterthought to the point where it is hard to even speculate on where she would fit in post shibuya. We get one flashback to her home village and it’s not even about her life as a jujutsu sorcerer in the country side, just a childhood friend she had. That childhood friend is apparently just fine in the city, so that character motivation and plotline is resolved for the most part. Everything we know about why Nobara became a sorcerer is shoved into a databook (her grandmother), Saori just seems to be a normal person so I don’t even think there was a mystery about her home town. 

You could say her flaw is both her naivete and egotism, she ends up kind of repeating misogyny against Mai when Momo tries to explain what misogyny is like in the Jujutsu World because she views Mai as a bad victim. Solidarity is solidarity with all women and victims, not just the people you personally like. Nobara’s belief that she can simply overcome all adversity with her strong willpower could also be seen as a flaw.

This is a mistranslation it’s more like ...

⇒ “How to put it… The seats in my life? I don’t want people who’re not sitting there to affect my mind in that way or another.”

⇒ “(…) Well, I guess there are people like you who just come bringing their own chairs and sit [with me], too”

which is Nobara saying she only cares about a select group of people, which in a way reflects Megumi’s flaw of just picking and choosing who she saves. 

Nobara’s flaw could be seen as her hypocrisy, she’s one of those loud, crazy people who can easily step on other people’s lives. If they’re not in her small circle of friends she doesn’t really care, she feels little remorse over killing Choso’s brothers. If she comes back that could potentially lead to a conflict with Choso, as unlike Yuji who Choso can forgive because they are brothers, not only is nobara also a murderer, but she doesn’t really feel sorry about it. 

Her naivete and hypocrisy are things that could come to have consequences for her upon her return, for instance you mention Yuta seems more appropriate for the role of supporting Maki and saving her from her spiral than Nobara does. If you look at it from that angle, Nobara could try to help Maki and fail, number one because she does not actually understand all that much about what happened in the Zenin clan she was just making judgements as an outsider and number two because she never liked Mai and that’s the person that Maki is grieving. Mai in general just represents a part of Maki that Nobara doesn’t understand in her amdiration of her. 

This is also the part where I start quoting other people, because I ferociously googled other people’s posts on how they think Nobara might come back due to this being a weak point for me. This post, brings up the fact that if you look at the losses Nobara has suffered so far, they could be the result of Nobara being arrogant and naive to the world and therefore her loss at Shibuya could be a low part in her arc that she has to recover from. 

Jujutsu Kaisen is nothing if not rigidly efficient in how it tells this massive story. I believe every instance of Nobara actually leads us to see a low point in her character arc in Shibuya and a possible return in the Culling Games.

The major foreshadowing to her return is during the Kyoto exchange arc. Her fight against Momo clearly has her ignorant of the plight of women in the JJK universe in Chapters 40 and 41.

This seems to return with Mai dead, Maki scarred and Nobara seriously injured. There's some that claim her not being dead would lower stakes when it's obvious Mahito still would have irreversibly destroyed her youth and beauty that she was proud of all the way back in her introduction in Chapter 4 believing she should be a model.

If being beautiful and dressing up is part of what makes Nobara Kugisaki, Nobara Kugisaki then what is she with half of her face deformed or missing completely?

If Nobara’s main strength is the power of her ego and self confidence, then introducing her back with a severely bruised ego with all the losses she has endured then that could represent a new struggle her character has to deal with. 

The second part of the post brings up that Nobara’s power is currently under-explored, as I said of Yuji and Megumi she seems to be the least connected to the Jujutsu World around her, but Gojo himself said that all of his students are supposed to have remaining potential. Nobara is referred to having come close to feeling the core to cursed energy, which is why she dealt a bigger blow to Mahito than Mahito expected having written her off as weak. 

As several people have pointed out before me, Nobara is the only one of the students to feel the core of cursed energy, which is mentioned s Gojo’s feat that allowed him to come back and defeat Toji. Nobara like Gojo, suffered a near fatal wound that put her on the brink of death, but Nitta went into painstaking detail to point out that there wasn’t a zero percent chance of her coming back due to his cursed technique preventing her body from getting any worse. Just like Gojo, her head wasn’t cut off and she wasn’t finished off. 

There’s two possible theories I’ve seen to explain what could lead to Nobara coming back, number one her unlocking reversed curse technique similiar to Gojo. Number one the clear parallel to Nobara in the past trio is Shoko. While Megumi is parallled to Gojo and Geto to Yuji. Gojo even says that reversed cursed technique is impossible to expain and has to be figured out intuitively. 

Nobara’s technique also has a couple of techniques that closely resemble reverse cursed technique. Resonance connects her to her opponent, she can even use her own body and connect her with her opponent to share their pain together. Considering she connects herself to the opponent’s soul directly to inflict damage on them (how she attacked Mahito’s soul directly), then either using reversed curse technique to heal isn’t that far of a stretch because she is already fighting y directly applying her cursed eenrgy to someone else, she just inflicts negative harm. Gojo explains reverse cursed technique is quite literally just reversing in order to heal. 

Or, there’s the theory my linked post posited that Nobara herself is going to be shown to be an expert of the soul. This is where I bring alchemy into the equation. 

This, is the alchemy triangle. 

I’ve explained the significance of the man and woman, small and large circles, square and triangle at some length.  For a story, we need to focus on the triangle.  In spiritual alchemy, the triangle represents soul, spirit, and body.  Heinrich Khunrath helpfully labeled the sides of the triangle in this emblem.  In red capital letters you have Anima (soul), Spiritus (spirit), and Corpus (body).  

It is ambiguous where cursed energy comes and cursed technique comes from, but we are given multiple references for soul, body and mind. Extremely early on it’s mentioned that cursed energy may come from the brain, later on Mahito is able to change Junpei’s brain around in order to awaken his potential for cursed technique. Much, much later Kenjaku does this en masse to awaken a bunch of potential sorcerers. 

Mahito refers to the soul and the body afterwards, completing the triangle. Mahito’s cursed technique specifically manipulates the soul to transform the shape of his body around it. In the world of Jujutsu Kaisen, the soul is definitely something that exists and has form. 

Todo even explicitly names the triangle later on when counselling Yuji, people exists in this world mind, body, and soul and sorcerers are at their strongest when they draw strength with all three are in harmony. Whereas Todo explains that the three of them being seperate and in disharmony makes cursed technique weaker.

So the goal of the triangle, and alchemy at large is to find the harmony between the alchemy triangle, or the three main characters that represent mind, body, soul (or sometimes, mind, body and heart). The Wizard of Oz is the most obvious example of three characters having to find harmony with each other in order to accomplish their goals by the end of the story. 

In the Wizard of Oz, Frank Baum used the heart/mind/body triangle in a completely different way.  Rather than marking his protagonist, Dorothy, as heart, as you would expect, Baum assigns heart, mind, and body characteristics to her three companions.  The Tin Man is in search of a heart, the Scarecrow in search of a brain, and the Cowardly Lion in search of “some nerve,” in other words the courage that Body characters typically lack.  

If you were to divide mind, body and soul then you can center the goal of each character of the main trio. Megumi has to find mind, he’s the most cerebral of the trio as the strategist, his entire arc revolves around his ideals (he hypocritically only chooses to save the people he wants too), his biggest flaw is also being inside his own head and refusing to connect with people. 

Yuji is obviously body, he shares his body with an intruder Sukuna, he is also out of harmony with Sukuna because Sukuna constantly possesses him to cause harm to the others around him. He only became a sorcerer in the first place because his body was modified the moment he ate the finger. He was also purposefully birthed for the sake of becoming a vessel, which means he was literally created to be a body for Sukuna to inhabit. Body characters are defined by their hunger and desires, Sukuna’s cursed technique literally revolves around cooking, his true form has a giant mouth on his stomach, Yuji has to eat fingers to grow stronger. 

That would leave Nobara as the soul, which is where I am going to reference the other post again. 

We never seen Gojo referring to Nobara's potential and so it's assumed it's because she's sidelined but there's no reason to say that it's not because her talents might be a major spoiler to whatever True Jujutsu and the Core of Cursed Energy is.

we already know that the power of the soul is something that goes beyond CE. Mahito even remarks all the way back in Chapter 31 that Sukuna should have less CE than Jogo yet his soul is simply on another level. It may be a completely separate power system and part of how Toji and Maki function so well with 0 CE. Their bodies after all can defeat souls.

, In fact, the separation of Sukuna's fingers into 20 is never explained as it's not a requirement seen for any other Special Grade Cursed Object capable of reincarnating like the Death Paintings (they are also mostly human but 1/3(?) curse). We don't actually know why he is different.

The influence souls have on cursed technique are unknown and unexplored too. The necromancer transfigures her grandsons bodies but specifically doesn’t summon the soul, but because Toji has a special body he comes back. 

Kenjaku even theorizes that the soul is the body, and the body is the soul therefore their connection influences one another both ways. Which is like... yet another way that Nobara can come back, if the body conforms to the soul and the soul conforms to the body, Nobara being able to manipulate her soul because her CT targets the soul directly could make her change her body enough to come back.

To make an argument with alchemy though, alchemy works by seperating the individual members of the triangle, and then eventually reuniting them. That’s a brief, brief summary of how alchemy works in a story, but basically for the story to be complete the alchemy triangle has to come together. For example, Naruto, Sasuke and Sakura are a similiar alchemy triangle, they spend most of the story seperated and developing on their own, but the story cannot end until the three of them reunite again. 

“The triangle symbolizes the tendency of the universe to converge towards the point of unity.” 

“Some philosophers maintain the quadrangle is to be reduced to a triangle, that is to body, spirit and soul. These three appear in three colors which precede the redness: the body, or earth, in saturnine blackness; the psirit in lunar whiteness, like water; and the soul or air, in solar yellow. Then the triangle will be perfect, but in its turn it must change into a circle (that is uncharangeable redness). 

“Out of man and woman make a round circle and extract the quadrangle from this and from the quadrangle the triangle. Make a round circle and you will have the philosopher’s stone.” 

The goal of alchemy is to form the philosopher’s stone, or essentially reach the endpoint of the story. The “man and woman” angle is also important. Remember, Nobara and Yuji have been depicted fighting together three times, the first time they were in disharmony because they just met, the second time they were in harmony after developing their bond as sorcerers and took on the death painting sibs together, the third time they were in disharmony again and they even seperated with Nobara’s “Death”. Alchemy would require the man and the woman coming together again at the end of the story (this doesn’t even specifically have to be romantic, just as symbols, Nobara and Yuji black flashed together they have a lot of potential for harmony). 

Whether or not you ship Sasuke and Sakura (PLEASE THIS iSN’T SHIpS I DONT EVEN SHIP THEM), the story also follows the formula of alchemy, Sasuke and Sakura are seperated for the majority of the story developing on their own and reforging themselves but the story cannot end until man and woman are brought together in a round circle. 

Therefore if Jujutsu Kaisen is an alchemical story, of mind, body and soul and cursed technique is at it’s strongest when these three elements are in harmony with each other, then the story can’t end unless the trio is repaired and Megumi (Mind), Yuji (Body) and Nobara (soul) are brought together once more. 

[popmusicu]

Mental health and music

The relationship between mental health and music is a profound and multifaceted one, reflecting the powerful ways in which artistic expression and psychological well-being influence each other. Music has long been both a solace and a form of expression for those grappling with mental health issues, providing a therapeutic outlet for emotions and a medium for connecting with others. This dynamic is vividly illustrated in the lives and works of many musicians throughout history, such as Kurt Cobain, Chris Cornell, Layne Staley, Kanye West, Kendrick Lamar, Sinéad O'Connor, Billie Eilish, Amy Winehouse, Brian Wilson, Syd Barrett, Daniel Johnston, Chester Bennington, Demi Lovato, Ian Curtis, and Michael Jackson.

For many musicians, creating and performing music serves as a vital coping mechanism for dealing with mental health issues. The act of writing lyrics, composing melodies, and performing can provide a form of emotional release and self-reflection. This process allows artists to articulate feelings that might otherwise remain unexpressed, serving as a form of self-therapy. For instance, the grunge movement in the early and mid 90’s is probably the best example. Kurt Cobain’s raw and confessional lyrics in Nirvana’s songs resonated deeply with listeners who shared his struggles with depression and bipolar disorder (then called manic depression). The frustration, anger and the self depricating sentiments and misery exposed throughout Nirvana’s work (deeply developed in In Utero) resonated deeply with a generation that didn’t identify with the braggadocious nature of Glam and Hard Rock. Similarly, Chris Cornell’s powerful vocals and poignant lyrics often addressed themes of despair and inner conflict, offering listeners a sense of solidarity and understanding. Layne Staley’s work with Alice in Chains develops in a similar way, touching on his own struggles with depression and addiction, in addition to the struggles of other people (see the song Rooster and how it touches on war related PTSD). A more modern example can be found in Kendrick Lamar’s music, that has touched in his music deeply personal issues regarding depression, suicidal thoughts (see the song u), impostor and savior syndrome (Savior) and generational trauma (Mother I Sober).

In a different note, mental health disorders can profoundly shape an artist's creativity, influencing the themes, tone, and intensity of their music. While mental illness can be debilitating, it can also drive an artist to explore complex emotional landscapes, resulting in moving and innovative works. Brian Wilson of the Beach Boys, despite battling schizoaffective disorder, produced some of the most groundbreaking and acclaimed music of the 20th century. His ability to channel his struggles with mental illness into intricate harmonies and melodies exemplifies how mental health struggles can fuel artistic genius. Similarly, despite his short carreer, Syd Barrett’s contributions to Pink Floyd’s early material, known for it psychedelic and experimental nature, were shaped by his deteriorating mental health associated with LSD consumption, leaving a lasting legacy in the music world. In this line, the works of Ian Curtis in Joy Division and Daniel Johnston come into the discussion, being their work deeply influenced by epilepsy in Curtis’s case, depression and anxiety. In a similar vein, as he became one of the biggest artists of the world in the 2010’s decade, Kanye West’s music often delved into his struggles with addiction, depression and mostly bipolar disorder, just like he exhibits on many of his albums like My Beautiful Dark Twisted Fantasy, The Life of Pablo, Ye, Kids See Ghosts and Donda.

Kanye’s case helps to also delve into the topic of the role of public perception and the stigma surrounding mental illness. The public’s perception of musicians with mental health issues can be a double-edged sword. On one hand, artists who openly discuss their struggles can help destigmatize mental illness and encourage others to seek help. West’s candid discussions about his bipolar disorder, for instance, have sparked important conversations about mental health in the public sphere. On the other hand, the pressure of public scrutiny can exacerbate mental health issues, contributing to a vicious cycle of stress and emotional distress. The intense media scrutiny faced by Michael Jackson in the span of decades, coupled with his complex mental health issues associated with childhood trauma, underscores the detrimental impact that fame can have on an individual’s well-being.

There’s also many musicians that, understanding their influence, use their platforms to advocate for mental health awareness, leveraging their influence to promote understanding and support for those affected by mental illness. Demi Lovato has been particularly vocal about her struggles with bipolar disorder and addiction, using her music and public appearances to raise awareness and reduce stigma. By sharing their personal experiences, these artists humanize mental health issues, making them more relatable and less taboo. Billie Eilish’s openness about her battles with depression, anxiety and tourette’s syndrome, reflected in her introspective lyrics, has resonated with a younger generation, encouraging a more open dialogue about mental health.

There’s also the not often associated with mental illness topic of addiction and substance abuse and how it conditions the artist’s music. Artists like Amy Winehouse, Layne Staley, Kurt Cobain and John Lennon have made music talking about and influenced by their addiction to several drugs, be it heroin, cocaine or alcohol.

Music itself can have therapeutic effects on listeners, providing comfort, solace, and a sense of connection. For fans, knowing that their favorite musicians have experienced similar struggles can be incredibly validating and empowering. Songs that address mental health themes can serve as anthems of resilience, helping listeners feel less alone in their battles. Chester Bennington’s music with Linkin Park, for example, tackled themes of trauma, depression, and hope (One More Light), offering a lifeline to many fans facing similar issues. The cathartic power of music can thus play a crucial role in mental health, both for the creators and the consumers.

In the end, the relationship between mental health and music is a complex and deeply impactful one, with multiple layers to dissect. Music serves as a therapeutic outlet, a medium for advocacy, and a source of connection and solace for both artists and listeners. Understanding the particularities of each case as each person’s trouble and mental condition is very complex and different from each other, the aforementioned experiences of musicians like Kurt Cobain, Chris Cornell, Layne Staley, Kanye West, Sinéad O'Connor, Billie Eilish, Amy Winehouse, Brian Wilson, Syd Barrett, Daniel Johnston, Chester Bennington, Demi Lovato, Ian Curtis, and Michael Jackson highlight the profound influence of mental health on creativity and the potential of music to heal and inspire their listeners and fans. Their stories remind us of the importance of compassion, support, and understanding for those facing mental health challenges, and the enduring power of music as a vessel of expression, liberation, venting and freedom.

- Ignacio Haro

[grim-faux]

I wanna do another story under the TTT concept/headcannon children just hardcore go feral in the Nowhere due to survival and isolation. Though I incorporate different forms and types to how children just devolve.

The Sounds of Nightmares introduced us to the different children and mystery to what becomes of some in the Nowhere. Some are captured and kept to perform, others might devolve or become 'infected' with the Nowhere, whereas others pack up and safety/solidarity in numbers.

There are variations of children adapting to what they are surviving through and the environment that is 'nurturing' that survival. Mono sometimes refers to his own understand (and extent of knowledge) on how such things work. Whereas the other some children packs that function more like tribes, due to how well organized and long-lived they are - though tribes are rare, since...

....they're still children.

And Snatchers are seasoned experts at tracking, hunting, and trapping. For the most part child tribes survive out of luck basis more than skill, given how terrain and environmental factors can contribute more to their downfall if they are pursued by a Snatcher.

Since when isn't luck a major factor contributing or decimating a child's prospects for survival?

But kids usually adapt to isolation since more than two kids usually doesn't work out - its more strain on roaming and securing essential food resource, which is what drives children to escape the dangers. There are also degrees to how children reach a point of feral equilibrium - this is based on cases of trauma in our history of children undergoing extreme cruelty and stress in their upbringing.

And its an underutilized and underappreciated factor of the narrative I do enjoy exploring. It gives explanation behind some of Six's actions (though by our world standards does not excuse them. Ever.) The children of Nowhere survive by the means that make sense and are unapologetic with that - they could never be trained to know remorse or forgiveness, since it's such an alien concept. Much of their actions come with intent or impulse, and there is no deep or explored language into such of these concepts due to extreme language barriers and lack of reflection or capacity for allowing reflection to develop. They don't have the novelty for a pause or break, it's always escape and survive, rinse and repeat. If children are not selfish or self-serving, they will not survive.

But its all concepts and worldbuilding points open to exploration. Different characters lost in their own heads, trying to survive in this world with every disadvantage a child has is magnified by a dozen.