#on the other defiance is empowering

[citrine-elephant]

safety is so important, but rebelling is so freeing

[upat4amwiththemoon]

Okay AN IDEA !

If you like it you can use it, if it's not something you wanna write that's perfectly fine too !!

So the request is for wandanat x daughter reader

R is secretly spider girl, only Tony stark knows because he's the one who got her the spider suit. R knows her moms would absolutely be against it, always telling her to stay away from that "spider girl" (not knowing it's actually their daughter. Yes like aunt May does in Spiderman : home coming :3)

So let's say R gets into trouble after trying to fight a villain way too strong compared to her and ends up being saved by wanda herself. Wanda finds out at this moment that the spider girl is her daughter and you can choose how the story goes from there

💕

(your favorite mf who sent 8678 request)

Spider-Girl

Summary: Is it a plane? Is it the Friendly neighborhood Spider-Girl? Sort of, it’s a girl who doesn’t listen to her moms!

Pairing: WandaNat x daughter!reader

Warnings: violence

Word count: 2111

a/n: there surely are words written down here

Tags: @thought-of-you-and-me @rafecameronswhore @emsmultiverse @natashamaximoff69

masterlists | guidelines

A video of the Spider-Girl stopping bank robbers is shown on the evening news. Y/N stares at the television screen as she eats with her moms, at times glancing at them to see if they’re paying attention to the news.

Natasha shuts off the television with a sigh, throwing the remote to the couch afterwards. Y/N turns to look at her scrunched brows and pursed lips. “If you ever see that Spider-Girl, stay away from her, okay? We don’t want you getting dragged into anything she does.” Her mother mumbles while eating.

Y/N rolls her eyes, though she hides it from her mom. “Mhm.”

“We’re serious about this, Y/N.” Wanda sets her cutlery down, looking at her daughter. “It’s dangerous and we don’t want you getting hurt.”

“I know,” she pushes her plate away, still half full, “you think I can’t handle myself.” Her voice is full of defiance as she mumbles.

The two women sigh as they glance at each other and their daughter, who is keeping her eyes away from them. This isn’t the first time conversations like this have come up.

“It’s not that we think you’re incapable,” Natasha raises her brows as Wanda starts speaking, which makes her wife give her a subtle slap to the arm, “we’re afraid that the bad guys will hit you twice as hard when they realize whose daughter you are.”

“Mhm.” Is all the answer her mothers get before she excuses herself from the dining table and makes her way to her bedroom.

As Y/N slams the door shut, she locks it and moves the curtains in front of her single window. Sitting down to her bed, she closes her eyes and takes some deep breath, calming down her mind. She is aware her mother would never read her mine without permission, unless absolutely necessary, but Y/N likes to make sure there are no loose ends.

Her mind clears from any unwanted thoughts—thanks to Natasha making her meditate with her since she was a kid—and a smile appears on her face. Y/N walks over to her wardrobe, her steps light as she opens it and starts digging through the mess of things inside. She finds the back wall of the wardrobe and moves it out of her way, taking her suit out of its hiding place.

She slips on her Spider-Girl suit, grinning from ear to ear at the empowering feeling the suit gives her. This is what she wants to do. This is her life.

Pressing her ear against the chilly wooden door, listening to the quiet sound of a laugh track coming from the television. Her mom won’t come bother her when they think she is upset. She has plenty of time to fight crime.

Y/N opens her window and climbs out of it, the palms of her suit sticking to the walls of her home as she makes her way to the roof. She shivers as the wind picks up, but she doesn’t let it bother her.

The homemade web shoots out of the web shooter and she flies towards the city centre, where the evening bustle is starting to wake up. She props herself on top of a building, it’s high enough to be hidden from the people, but still low enough to keep an eye on the streets.

After a few minutes of surveilling the area, a bright light flashes just outside the city, leaving a trail of smoke behind. Y/N grins and makes her way to the smoke, practically flying over the buildings as she glides in the air with the web wings of her suit.

It only takes her around 15 minutes to get near the site. She lands on top of an industrial building, staying low as her eyes adjust to the lack of bright city lights.

Y/N can quickly figure out where the light came from. There is a machine on an otherwise unoccupied patch of land between all the abandoned looking buildings. The machine is big, but it looks crude, handmade. She frowns, not feeling good about any of this. It’s still slightly smoking when two men wearing safety gear finally step onto her line of sight.

She tries to hear what they’re talking about, but they’re too quiet even with her heightened sense of hearing. Her eyes scan over the near area, trying to calculate how safe she’d be if she made herself known to them. Not seeing anything on top of the two men and the machine, she starts quietly crawling closer, keeping a close eye to the men’s hands.

Suddenly, a buzzing sensation fills her mind. She snaps her head to the direction her spidey senses guide her, and even though she is fast, it’s not enough. A third man has climbed onto the roof. He is holding a weapon Y/N doesn’t recognize and shoots it before she is able to react.

A bolt of electricity flies out of the gun-like weapon. It hits Y/N right on her side, making her lose her grip and fall down from the building, all the way to the ground. A small cloud of dust puffs out from the impact.

With a groan, Y/N opens her eyes, seeing the two men standing over her with grins on their faces. “Well, well, well,” one of them chuckles, “what do we have here?” His voice is low and raspy, the smoked a pack a day for years kind of voice.

She lets out a quiet growl-like noise, which clearly doesn’t intimidate the men. “What’s she supposed to be?” The other man mumbles, his head tilting from side to side as he studies Y/N’s suit. “Some kind of bug, eh?”

Using the moment to her advantage, she pushes herself on her feet with a move Natasha taught her, webbing one of the men to the face and kicking the other’s knee. The men let out surprised noises, stumbling away from Y/N, which gives her a slight advantage as she starts fighting them.

She does well for a while, at least when there’s only two of them fighting her, but slowly she starts hearing noises growing louder, like running.

Just as she knocks one of the men unconscious and stick the other to a wall with her web, a group of people with the man who shot her in front arrive. “Shit.” Y/N pants, already having used a lot of energy. The man raises his weapon, shooting an electric bolt again.

Y/N lets out a shout as the bolt of energy hits her square in the chest. She flies a few meters back, landing on her back with a grunt. Her hand flies up to her mask, quickly whispering, “SOS,” before she stands back up.

“The Avengers have been notified.” A robotic female voice speaks up.

Mumbling out a quiet thanks to her artificial intelligence helper, Y/N lunges towards the men again. She feels as if part of her strength is back, now that she knows Tony is coming, but reality hits her like a brick wall once an electric beam hits her.

“I’m getting tired of this.” Y/N grumbles, shooting webs to one of the weapons hitting her.

She webs herself into the air, using the altitude as an advantage against the men. While one of the men is still busy with getting the web out of his gun, Y/N swings down, feet first, on one man’s head.

The impact makes a nasty cracking sound, one that makes Y/N cringe. “Sorry!” She lands on the ground, on her feet, while the man falls on his back, unconscious, hopefully. Her spider senses active, and this time she has enough time to web away another weapon pointed at her. What she doesn’t notice is a new group of men on top of a building pushing down a cell tower.

“Take that!” Y/N mumbles to herself, making up sound effects as she shoots her webs, trapping a man to the ground.

A crashing sound gets her attention. She looks up into the sky, where the cell tower is falling down right towards her. She goes to shoot out a web, but nothing comes out of her suit. She lets out an ear shattering scream when the metallic tower drops right on top of her.

Tears are brimming her eyes as she heaves, trapped under the structure. Her vision is blurred and she can taste blood. The men around her look pleased, ready to end it, until one of them flies away.

The others start looking around, shooting at the smallest movements and noises, but one by one they get either flown away or shocked unconscious.

Y/N recognizes the familiar red wisps of magic in the air, and the small widow bites flying. She lets out quiet curses as she starts pushing herself up, using all of her strength to push the structure off of her.

“Let me help you with that.” Wanda lands in front of her, easily lifting the cell tower with her magic while Natasha punches the last man standing unconscious. “Are you alright?” She helps Y/N up, letting her lean on her for support.

Y/N nods, not daring to speak. She knows her mother would recognize her voice. “You got hurt pretty bad. We could help patch you up.” Natasha states as she walks over to them after letting Tony know someone could come collect the men now.

Y/N shakes her head, her eyes wide, though the two women can’t see it. She steps away from Wanda’s hold, giving them finger guns before going to web herself away from the situation. “Shit!” She grumbles as nothing happens.

Wanda frowns. She flicks her wrist, causing the mask on Y/N’s face to fly away. “Y/N!”

Gasping, Y/N looks at her moms with wide eyes. “I can explain! It’s not what it looks like.” She holds out her hands.

“It looks like you sneaked out to fight bad guys on your own,” Natasha’s hands are crossed over her chest, “and you didn’t tell us you’re Spider-Girl.”

“Well-“ Y/N opens and closes her mouth a couple of times, “that’s.. that’s it.” She mumbles, avoiding looking at her moms. They’re angry, so very angry.

“What in the world were you thinking?” Wanda scolds, though concern clearly slips through her angry tone. She walks over to Y/N and starts looking at the wounds she has. “This could’ve ended up so much worse. Do you understand that?”

“Yes..”

“How long have you been doing this?” Natasha walks over as well, wrapping her arm around Y/N’s waist so she could lean on her.

Y/N has a sheepish smile on her face, “as long as you’ve seen Spider-Girl on the television.” They start walking towards Natasha’s car.

Letting out a quiet huff, Wanda shakes her head. “You’re so lucky I’m more worried about your health right now.” She gives Y/N a pointed look, a look that says you’re in so much trouble. “But you better believe we are going to take that suit away and ground you until you’re 30, do you hear me? You will never leave the house again.”

Natasha opens the back door for Y/N, helping her in before getting in herself, while Wanda gets into the driver’s seat. “Who gave you the suit?”

“Tony.” Y/N says quickly. She’ll happily put some of the blame on someone else than herself.

“Oh, I’m going to kill him.” Wanda states from the front of the car.

“I’ll help you.” Natasha mumbles, pulling Y/N closer as she starts to look over her wounds. “You know Wanda is right, yeah? Once you’ve healed up properly we will talk about consequences. And you can never do this again, never ever.” Her hands are on her daughter’s cheeks to hold eye contact, she wants to make sure Y/N is really hearing her.

She nods. She understands this was a close call, she has never gotten this hurt before, but Y/N doesn’t see it as a reason to completely stop. She can get better.

Natasha pulls her close, kissing the side of her head gently. “At least not before you train with us.” She whispers, giving her a small wink before going back to acting as if she never said anything.

Y/N can’t help but let a grin grow on her face. She looks down at her lap to hide it from Wanda, who keeps glancing at her from the rear view mirror.

She’ll never stop being Spider-Girl.

[xneptunianx]

Lilith conjunct Ascendant/Lilith in the 1st house

Hi everyone! My name is Amber, I’m 22 & this is my first astrology post. I’ve been studying astrology for 7 years now and I’m excited to share my knowledge and experience with astrology with you. This is a long one, so get ready.

I have this placement myself in the sign of Pisces conjunct my Pisces Asc in the 1st house with my modern chart ruler Neptune heavily aspected. (I study sidereal astrology with whole sign houses) so writing it was pretty interesting. If you would like to know about my personal experience with this placement, let me know and I’ll create a separate post about it.

Disclaimer: Any other aspects to your Lilith as well as your ascendant & your chart ruler(s) will affect how this aspect will show up. It’s also important to know that the tighter the orb/degree, the more prominent it will be. If you get triggered easily, please take care of yourself and read another time. Trigger warning is put before sensitive subjects.

Alright, enough rambling. Let’s get into it!

——————————————

❥ Who is Lilith?

❧ She was Adam’s first wife, she was casted out of the Garden of Eden by God for defying Adam.

❧ She was shamed, ridiculed & rejected for her strong will, rebellion/defiance & liberal attitude towards sex, independence & wanted more than anything to be treated as an equal to Adam.

❧ After being casted out of Heaven, she went on to have an affair with Satan and was crowned the Queen of Hell.

❥ What does Black Moon Lilith represent?

❧ BML is not a celestial body or an object, it is a mathematical point but its energy is still very much prominent.

❧ It represents either/or the fascination/obsession, denial/rejection of whatever topics that are associated with the sign and house it is in.

❥ What is the ascendant?

❧ The ascendant sign, also known as the rising sign is the critical, angular point of the 1st house.

❧ This represents your physical body, appearance, 1st impression, innate nature & mannerisms.

❧ In the Placidus house system, it is the beginning of the 1st house. In the Whole Sign house system it can vary in degree and very rarely land in the 12th or 2nd house.

❧ The ascendant sets up the rest of your chart. If you have BML in the 1st house without the conjunction to the Asc, this energy will still manifest. It just won’t be as prominent.

❥ What is a conjunction?

❧ A conjunction is an aspect. Aspects are used to show the relationship and dynamic between planets/objects in a chart.

❧ Conjunctions are when two or more planets/celestial bodies/angles are right next to each other in the birth chart, blending and empowering the energies associated with them together.

❧ Angles are the Ascendant (ASC), Descendant (DSC), Imum Coeli (IC) & Midheaven (MC).

❥ I like to think BML as a mix between the outer planets: Neptune, Uranus & Pluto. Especially, Pluto.

❥ When someone has BML conjunct the Asc/in the 1st house this gives the native a mysterious, captivating, alluring, darker aura & presence.

❥ If the BML is conjunct the Asc in the 12th house (usually the case in the Placidus house system) the energy will be there as well but it will be deeper in the subconscious and may be harder to harness this energy in a productive way.

❥ The 12th house is the house of confinement, suppression, hidden enemies, the subconscious & self undoing (addictions for example).

❥ However, the 12th house also rules dreams, spirituality & the unseen realms as it is is ruled by Neptune and naturally is governed by Pisces. Therefore this may manifest similarly to Pisces Asc in certain ways.

❦ Physical Appearance ❦

❥ BML hardens energy & adds a darker, more intense energy. Especially when it comes to the softer ascendant signs such as Taurus, Libra, Cancer, Virgo & Pisces as a few examples.

❥ Some astrologers say that BML does not affect physical appearance but in my experience, I have noticed a few common denominators which are listed below:

❥ Those with this placement usually have a darker appearance, even those with a lighter complexion/light colored eyes. The eyes may be darker in appearance due to the energy that BML exudes.

❥ May give a little bit of Neptunian energy if it’s conjunct in the 12th house (dreamy, ethereal. think siren energy).

❥ They may have darker colored hair & sometimes thicker hair (not always ofc, genetics matter).

❥ Regardless, they may have a darker aesthetic, wear black or darker colored clothes.

❥ If not the case, they are just attracted to styles & aesthetics that bring a sense of empowerment, liberation & control. Whether that’s dressing unconventionally, modestly or revealing. It can go either way.

❥ They may decide to dye their hair a darker color if their natural hair color is lighter. Also, those with the placement may even decide to dye their an unnatural color.

⚠️‼️TW: Mentions of sexual trauma/SA, depression, self-harm, ED’s. Please, take of yourself.‼️⚠️

———————————————————

❦ Personality & Struggles ❦

❥ If you have this placement you may have struggled with bullying, rejection, being overly sexualized or ridiculed and projected onto by others. People may view you as bitchy, arrogant & ruthless.

❥ You also naturally exude sex appeal regardless if you are trying to present yourself as such. This is especially tough if you have trauma surrounding sex & sexuality.

❥ This placement at its worst manifestation is in line with SA, coercion and manipulation by others or even towards others. Although, the native is usually on the receiving end of this.

❥ May also struggle with su!c!dal thoughts/ideation, addictions among other forms of self destruction.

❥ They also struggle with asserting themselves and setting boundaries due to fear of rejection, ridicule & hostility. People project a lot of their fears and anger onto to them.

❥ They also have a tendency to attract possessive, obsessive and controlling friends & partners that want to put them in a box.

❥ The more these people try to tame & control them, the more the people with this placement will want/feel the need to rebel.

❥ May have problems with women/feminine figures in their life.

❧ If they are a woman/feminine, other women/feminines may be envious/jealous of them and their captivating energy.

❧ Regardless of their sexual orientation they will most likely struggle with men/masculine figures over-sexualizing them, degrading them, disrespecting them, overstepping their boundaries & projecting their fantasies onto them.

❥ Especially if they have a Venus or Neptune ruled ascendant or if Venus and/or Neptune is prominent in their chart.

❥ Examples:

❧ Taurus/Libra Asc (Venus). Pisces Asc (modern ruler is Neptune, traditional ruler is Jupiter).

❧ Heavily aspected, on an angle (Asc, Dsc, IC, MC) or in an angular house (1st, 4th, 7th or 10th house). Especially Neptune as Neptune is the higher octave of Venus and it rules dreams & fantasies.

❧ Also, Mars & Pluto prominence: Scorpio Asc, Mars (traditional ruler) & Pluto heavily aspected, on an angle/in an angular house for control, manipulation, hostility and/or violence.

❥ These energies also apply to men/masculines as well but it may manifest a bit differently as stated below:

❧ If they are a straight man/masculine they may struggle with expectations and demands towards women. Especially in a partner.

❧ They may even have the tendency to be misogynistic. Alternatively, they may seek out feminine partners that defy traditional roles in relationships as they respect and admire that.

❥ Daddy issues are usually a thing with this placement, both in feminines and masculines. They struggle with expressing their feminine energy.

❥ As the ascendant/1st house deals with the physical body, they may have struggles with self image issues such as an eating disorder/ or general insecurities surrounding their appearance and body. Sometimes, this can manifest as physical health issues/disorders as well.

❥ Alternatively, the most positive manifestation of this placement is being obsessed with themselves and their appearance, in a positive way. Although, that too can turn toxic.

❥ Being a leader and paving the way for liberation & justice especially when it comes to femininity and sexuality.

❥ Not only that, they pave the way for others to express their authenticity and challenging social norms and what is deemed acceptable by society.

❥ In general, the native may become obsessed with cultivating a persona that they deem powerful & influential even though it may not fully align with who they actually are and what they want.

❥ They may even become obsessed with negative attention just as much as positive attention.

❥ “Haters make me famous.” “All press is good press.” & “The end justifies the means.” are mottos they may live by or at least inspires them.

———————————————————

❦ If you have this placement, a great way to harness this energy is following your authenticity. Standing up for yourself and what you believe in.

❦ Forms of self expression such as fashion, music, drawing or other forms of artistic expression will help to release any negative emotions and struggles you may be dealing with.

❦ Acceptance of one’s authenticity & facing your fears and inner demons is essential. The more you try to suppress who you really are, the more Lilith will challenge you.

❦ Don’t be afraid to seek therapy or talk to a loved one if that’s an option for you.

Hope you guys enjoyed this post. Let me know if it resonated and leave me suggestions for more posts!

[busylazy]

SB19 101 + Songs to Listen to

SB19 is a trailblazing Filipino PPop (Pinoy Pop) group, making waves both locally and internationally with their unique blend of Filipino and Korean pop influences. Formed in 2016 under ShowBT Philippines, the group comprises five talented members: Pablo, Josh, Stell, Ken, and Justin. They are known for their powerful vocals, intricate choreography, and heartfelt songwriting, quickly rising to fame with their uplifting and relatable music.

Must Listen to SB19 Songs

"Go Up" (2019)

Their breakthrough hit, this upbeat song about perseverance catapulted SB19 to fame, earning them wide recognition.

The dance practice:

The official MV:

"Alab (Burning)" (2020)

A vibrant and energetic pop song with a catchy hook, "Alab" is a fan favorite for its infectious energy and danceable beat.

"Hanggang Sa Huli" (2020)

A ballad about unrequited love and heartbreak, this song highlights SB19’s vocal harmonies and emotional depth.

I can only add 10 videos to a post so I selected 10 to share. I didn't include this track but you can watch this song's animated music video here. ⬅️

"Tilaluha" (2019)

SB19’s debut single, a sentimental ballad about longing and heartache, setting the stage for their success with its powerful vocals and emotional resonance.

Watch the music video here: https://www.youtube.com/watch?v=9Fqszuma1zQ

"Mapa" (2021)

A heartfelt tribute to parents, "Mapa" combines "Mama" and "Papa" in its title, symbolizing gratitude and love as well as "mapa" for map, showing gratitude to those who guide us.

The song’s touching lyrics and soothing melody make it a fan favorite. It's their most-viewed video to date, with over 104 million views as of this post.

"WYAT (Where You At)" (2022)

This upbeat, disco-pop track captures the excitement of reconnecting with loved ones after a long time apart. Its retro vibe and feel-good energy make it a standout. Its energy and catchy hook make it a great introduction to SB19’s style.

"What?" (2021)

This powerful anthem speaks about identity and pride, blending rock and pop elements with explosive choreography.

"Bazinga" (2021)

A hard-hitting track with themes of resilience and confidence. It topped Billboard's Hot Trending Songs chart, emphasizing the group's growing international fanbase.

"Gento" (2023)

Known for its hard-hitting beat and confident lyrics, this song symbolizes change and progress. The title is a play on "ginto" (gold) and "ganito" (like this), signaling excellence and ambition. It’s an anthem of self-empowerment and worth, emphasizing the group's hard work and resilience.

It's their second most viewed video after "Mapa" and has been making the rounds on social media for its iconic dance moves. Several Korean idols and other celebrities did not escape the challenge to try the trend.

"I Want You" (2023)

A sultry, smooth track with a slow, sensual beat. This song showcases SB19's ability to blend R&B influences into their music while maintaining their signature style.

"CRIMZONE" (2023)

A powerful anthem of defiance and resilience, this track has an intense energy with a rebellious tone, demonstrating SB19’s versatility in both sound and performance.

This track stands out with its intense beats and themes of perseverance, encouraging listeners to remain steadfast despite challenges. The energetic delivery and impactful lyrics give it an empowering feel.

Here's a link to the official lyric video: https://www.youtube.com/watch?v=e-Nh623g0-Y

"Liham" (2023)

A moving ballad about unspoken feelings, "Liham" captures the pain and longing of words left unsaid in a heartfelt letter. It's themes of love, longing, and vulnerability, highlights SB19's emotional depth.

The lyric video: https://www.youtube.com/watch?v=orU-h3eX-Gc

"Ilaw" (2023)

A more emotional, introspective track, "Ilaw" represents hope and guidance, showcasing SB19’s ability to convey deep feelings through gentle melodies and touching lyrics.

Here's a link to the official lyric video: https://www.youtube.com/watch?v=9Ns8DztSfwo

"Moonlight" (2024)

Moonlight has a dreamy, mellow feel, combining smooth melodies with reflective lyrics. It’s particularly appreciated for its atmospheric and soothing vibe.

They have collaborated with Ian Asher and Terry Zhong in "Moonlight." Other collaborations include "Ready" with Apl.de.Ap of Black Eyed Peas and "Kalakal" with Gloc-9, the latter is often dubbed as the fastest rapper in the Philippines.

Other Must Watch Videos

Apart from their official music videos, it's worth watching live performances and one-take recordings such as from The First Take and Wish Bus.

SB19 offers a dynamic and diverse discography, blending pop, ballads, R&B, rock, and hip-hop, making them an exciting force in the PPop industry and beyond.

Members

Pablo (John Paulo Nase)

The group’s leader, main rapper, and lead vocalist, Pablo is also a talented songwriter and producer. He is credited with writing most of SB19's songs.

Josh (Josh Cullen Santos)

Josh serves as the lead rapper and sub-vocalist of the group. He's the eldest member of the group, but true to his name, Cullen, he's like a vampire who doesn't look his age.

While all of them struggled before reaching where they are right now, Josh's life story is probably the most interesting one (IMO). It could have easily landed an episode of biopic (often dramatic but with life lessons to serve) shows like "Magpakailanman" or "Maalala mo Kaya."

Stell (Stellvester Ajero)

Known for his powerful vocals, Stell is SB19's main vocalist. He is also involved in vocal arrangements and harmonies, bringing emotional depth to the group's music.

Ken (Felip Jhon Suson)

As the group's main dancer and sub-vocalist, Ken has a distinct low vocal range that adds texture to their songs.

Justin (Justin de Dios)

The youngest member and sub-vocalist, Justin is also the creative mind behind much of SB19's visual content, contributing to their music video direction and concepts.

Solo Music

SB19’s members have ventured into solo projects, further showcasing their individual artistry alongside their group success.

Pablo

Pablo's solo single, "La Luna" (2022), is a deep, introspective track that explores themes of inner battles, freedom, and identity, set against a dark, moody backdrop.

He continues to explore deeper themes in his solo work with two recent albums, "Alon" and "Laon" (2024). These albums are a reflection of his growth as a songwriter and producer, tackling topics like personal struggles, introspection, and resilience.

Laon (long time, old, ancient; you get the point) is more upbeat and often edgy, while Alon (waves, like ocean waves) is inspirational but sometimes heartbreaking.

"Butata" from Laon is easily the top track with it's basketball-themed lyrics referencing the anime Slam Dunk, which was a hit in the Philippines back in the 2000s. "Butata" literally means getting zero points or losing a game. It's a gritty, hard-hitting track that reflects Pablo’s ability to mix emotional vulnerability with strong, impactful lyricism.

I like all the songs in Alon, especially "The Boy Who Cried Wolf" and "Drowning in the Water." The former (TBWCW) is surprisingly not about the boy who cried wolf but about the boy who is also the wolf at the same time, and he's having a dialogue with himself. The latter is a song he wrote about a decade or so ago. Let me add "Wala" as well.

Josh

In 2023, Josh launched his solo single "Wild Tonight," which blends dark, edgy themes with electronic pop influences.

Josh later released "1999" this year, which reflects his personal memories and nostalgia of growing up in the '90s. The song blends retro vibes with modern electronic beats, celebrating the simplicity and joy of youth.

Other notable songs from both the first wave of singles and the current ones include Yoko Na featuring Al James, Get Right, No Control, and Sumaya. The entire Lost and Found album (2024) is bop to be honest, but my personal favorites are Silent Cries, See Me, and Honest.

Felip / Ken

Under his solo name "Felip," he has released tracks like "Palayo" and "Bulan," which explore his creative individuality and experiment with contemporary R&B and hip-hop with some traditional elements. Fake Faces easily makes him a "Rocksta." Let me add Kanako too. It's in Bisaya (another language in the Philippines).

Apart from the singles, he has released the 7 Sins (2024) album. I love the entire album, especially the rage song "envy" and the inspiring "ache." The kids choir at the song's bridge can melt your heart further amid the already heart-melting lyrics. His collaboration with Dutch-Filipino R&B singer Cyra Gwynth "lust" is a must-listen to track as well. The entire album is a must-listen to, actually.

Stell

Stell's songs combine a mix of ballads and pop tracks that allow him to express his personal experiences and artistic growth beyond his work with SB19.

(GIF is in his The Voice Philippines coach era)

One of the standout songs from Stell’s solo project, "Room" is a heartfelt ballad that focuses on the themes of love, vulnerability, and personal space. Stell’s rich vocals shine, creating an intimate emotional connection with listeners.

Speaking of that GIF, Stell became a coach for the Philippine franchise of The Voice Generations (2023) and The Voice Kids (2024). His rendition of All By Myself with David Foster further proves his vocal strength.

Justin

Justin’s recent solo releases have also gained attention for their unique storytelling and personal touch.

"Kaibigan" is a touching song about friendship and love (or more like friendzoned). It highlights Justin's lyrical ability to convey warmth and connection, blending gentle melodies with heartfelt lyrics.

"Surreal": This track dives into dreamlike themes of wonder and imagination, offering a smooth, almost ethereal sound that showcases Justin's creativity and softer vocal tones.

These solo efforts from SB19’s members, alongside their group discography, illustrate the depth of their musical abilities and their desire to push boundaries within PPop and beyond.

Erratum: this post is constantly being updated

DAM

Like, damn! The music video for SB19's new single, "DAM," for their upcoming comeback album SAW (Simula at Wakas, translates to "the Beginning and the End" or "Start and Finish") is so damn lit! It has surpassed 4 million YouTube views within 24 hours. That's the second highest record in the Philippines to date.

[tealvenetianmask]

More about Blitz and anger . . .

Anger is a super stigmatized emotion. That's for a reason- it's powerful. When we see it from other people it's usually externalized- it's ugly, aggressive, shows up in abusive situations- it sometimes leads to violence. But when we talk about righteous anger, or the anger of marginalized people, we sometimes praise it. That's because anger can be empowering too.

I want to talk about how Blitz's anger, while it's also destructive at times, has empowered him.

Personal note: when I was a kid, I was yelled at frequently by my mother. The house I grew up in was a 60's rancher with a long hallway in the center, and she would chase me down the hallway yelling. As I grew older, I learned to yell back. Feeling anger and externalizing it didn't make the hurt go away, and it didn't solve our problems- it turned us into two people yelling at each other- but it did make me feel less helpless.

So let's look at Blitz as a kid. In addition to guilt tripping him, his father tells him that "there are scarier things," than stealing from a wealthy and (literally) powerful family, and he doesn't disagree. I think this screenshot captures their relationship pretty well.

We see moments of defiance from Blitz though, even as he's very much under Cash's control. Georgia Dow pointed this out in her video about how Blitz learned resilience in his childhood. Here, have some defiant expressions:

Notice Blitz's eyebrows here, mirroring his father. I suspect that as he grew older, Blitz learned to push back harder, to argue, maybe even to yell. He learned to channel his anger- at being used, diminished, devalued (very likely yelled at and probably physically hurt too) into expression, into fight (I don't picture him physically fighting Cash, but the guy has fight in him- of all kinds).

He learned to feel angry at the world and express that too- for treating imps as lower than other demons, for limiting his options in life, for filling the road to success with exploitation (as we see in the Mammon flashbacks with Fizz).

Speaking of that flashback, he's very ready, as a teenager, to express anger exactly when he needs to for the purpose of protecting a loved one.

Fast forward to the present.

Blitz's anger helps him stand up for the people he cares about- see Fizz in the present at Mammon's show but also Moxxie in Spring Broken.

It helps make him good at his job too. When we see him fight, he doesn't tend to seem all out enraged, but he's super determined and all in. He's at home in a conflict. When he's doing his best fighting, we see a mix of the "angry" facial expressions and pure confidence.

Anger also helps him manage a lot of difficult emotions. Disclaimer (and idea I'll get back to soon)- I said manage, not deal with.

When he interacts with Verosika and with Robo Fizz early in season 1, there's genuine underlying pain from how the relationships with Verosika and the real Fizz ended, but he channels that into anger. The anger makes him take action (Good action? Eh. But still action- he's not crying on his couch.) rather than get consumed by more painful emotions. He's able to keep going.

It also gets in his way, even as he uses it as a coping mechanism. Is his anger at Muffy and the Karen in the doctor's office understandable as he's dealing with his frustration about the inaccessibility of healthcare for Loona and his worries about losing Stolas? Yes. Is it helpful? No, probably not.

It isn't useful with Stolas either. Stolas is this person who's kind and beautiful and quirky and able to match his wit, and who Blitz has grown genuine feelings for, but who is also deeply entwined in the unfairness in Hell's society that Blitz has grown to resent throughout his life- AND Stolas unknowingly participates in some very familiar microaggressions himself.

Blitz channels a whole range of complicated emotions- love, fear, despair at the thought that he isn't loved back- all into anger because he HAS been wronged and his world IS unfair, and anger is COMFORTABLE because anger is ACTIVE, and with it he doesn't have to just let things happen to him!

So we end up back here.

[succulentsiren]

The Lilith Archetype

Learn to Embody the Lilith Archetype

The Lilith Archetype represents a liberated woman who isn't afraid to cut ties with toxicity, speak her mind or make bold decisions.

She is the Dark Goddess of defiance and strength, refusing to bow down or neglect her needs to please anyone else’s.

In romance, she is a delicious thrill. There are many who pursue her to conquer her, but she can’t be tamed, and that forbidden quality is her most seductive one.

Even if people with this archetype don't seek attention, they always seem to attract it. Their aura and personality are just too magnetic to ignore.

Examples in Media: Rihanna, Megan Fox and Doja Cat.

The Lilith Archetype is represented by the tarot cards, the Queen of Wands and the Devil.

If this is your archetype, you are empowered from within' and refuse to follow any other commands but your own.

Many call it the 'left hand path' which is a path of freedom and self-knowledge. Like Lilith, you prefer to be separated from dogma and patriarchy. You would rather raise hell than comply with unsatisfying rules that oppose your values. You refuse to dumb yourself down or shrink yourself for anyone and your rebellious nature is inspiring, especially to other women. Like the Queen B, you are a natural leader and can easily gain a cult like following because of how much people respect your strong will. You will always stand up against injustice and aim to win.

Take the Quiz Here

The Dark Feminine Archetypes

[rholsof-film]

Krittika Queerness

While astrology, including the nakshatras, doesn’t explicitly label traits like queerness, certain archetypal themes and energies associated with nakshatras, including Krittika, can lend themselves to narratives of identity exploration, fluidity, and nonconformity. Krittika nakshatra, with its intense themes of transformation, individuality, and sharp discernment, can resonate with the experiences of queerness.

The knife representing Krittika, cuts through societal conventions and illusions, finding truth as that is the theme of the nakshatra itself. Krittika natives might be inclined to challenge traditional structures, roles, or norms, including those around gender and sexuality. This nakshatra empowers individuals to carve out their identity, even if it deviates from societal expectations.

Krittika is said to have a strong passion for the opposite gender BUT I have noticed that these natives also indulge in homo relationships. Or can have a passion for the same sex/ homo-erotic relationship. They are known for liberation in themselves and others, so this is just a small note that I noticed.

Jennifer’s Body (2009), pushed through boundaries of traditional femininity and sexuality, reflecting Krittika’s sharp and transformative nature. Jennifer’s character is unabashedly complex, embodying themes of fiery transformation, seduction, and defiance of norms. The underlying queer subtext, the homoerotic relationship between Jennifer and Needy adds layer of fluidity to her identity, resonating with Krittika’s bold and transformative energy.

*(Megan Fox, Krittika Sun)I was convinced she planned to eventually runaway with Needy. But in the end Needy ended up killing the band that sacrificed Jennifer. True love*

The Journey of self-discovery and authenticity is often central to queer experiences. Krittika natives, with their connection to the purifying fire of Agni, may undergo profound personal transformations to embrace their true identity. They can embody unapologetic individuality, embracing their uniqueness with confidence. This fiery assertiveness aligns with queer representation.

In Ballerina (2023), this individuality can be seen through characters who navigate complex emotional and identity-driven arcs with intensity and passion. The story aligns with themes of Krittika cutting through illusions and embracing a transformative journey. Avenging her friend’s death that she seemed to have a very queer coded relationship with. Honestly, their relationship was most definitely homoerotic, and I see a lot of Krittika natives in these types of roles.

*(Jeong Jong-Seo, Krittika moon) Anything for her femme girlfriend, she quite literally took out a gang for her, as she should*

Lady Bridgerton—played by miss Hannah Dodd is a very queer coded character, it’s not yet confirmed but it is said that in the book she falls in love with a woman. An if you are able to pick up on anything queer coded, you would have noticed the longing looks between her character and her husband’s sister. Their relationship is also canon, hopefully my predictions are true though.

*I knew Francesca Bridgerton (Hannah Dodd, Krittika Sun) was queer through just her body language*

The Confessions of Frannie Langton (2022), Sophie Cookson plays a lesbian that seduces Frannie Langton.

*Sophie Cookson (Krittika Sun) is a proclaimed lady kisser, spotted in more than one show/movie kissing girls. I love it*

I understand it has been discussed that Krittika is passionate about the other gender, but Agni is both destructive and creative, embodying dualities that mirror the complexities of queer identities. This fluidity can manifest as openness to exploring gender, relationships, and self-expression outside conventional binaries. Krittika’s ruling deity, Agni, represents transformative energy that transcends rigid structures, which aligns well with the spectrum of queerness.

*Cate Blanchett in Carol (2015), Krittika Sun*

While Krittika doesn’t inherently “cause” queerness, its themes of cutting through illusions, self-discovery, and transformative fire can resonate with queer narratives. It encourages individuals to live boldly and authentically, making it a natural nakshatra to connect with queer-coded or openly queer characters.

[merwgue]

The Illusion of Feminism in ACOTAR: How the Series Fails Its Female Characters

Sarah J. Maas's A Court of Thorns and Roses (ACOTAR) has often been hailed as a feminist fantasy, a tale filled with powerful female characters who fight, love, and rule their own destinies. But upon closer inspection, what the series delivers is an illusion of feminism—a narrative that dresses its women in superficial strength while confining them to traditional gender roles and patriarchal tropes. Maas may present her female leads as independent and powerful, but their development is constantly undercut by their relationships with men, their trauma, or their need for validation from others.

The series starts with Feyre, a young woman fighting to survive, taking on the role of provider for her destitute family. On the surface, she seems like a strong, independent character. However, her growth as a person is largely overshadowed by her relationships with male characters. Feyre’s development isn’t just about her becoming a stronger, more capable version of herself—it’s about finding a man to ‘save’ her. First, she is emotionally and physically exhausted under Tamlin's control, and then Rhysand comes along as her liberator, offering her the "true" freedom she never had. Feyre's journey, for all its twists and turns, is less about her own self-realization and more about trading one male protector for another. Her strength, while praised, only seems to materialize through the lens of her romantic relationships.

The problem with Feyre’s arc is that her identity and power are so deeply tied to the men in her life that it leaves little room for her own autonomy. Instead of choosing power or independence for herself, her development is almost always tied to how her male counterparts define her. The narrative tries to position Rhysand’s treatment of Feyre as "feminist" because he gives her choices, yet even within these choices, her journey is still deeply interwoven with romantic and sexual validation from him. The story makes it seem like Feyre’s strength is conditional on her connection to Rhys, reinforcing the very idea that a woman’s power must be connected to a man.

Then there's Nesta. Nesta’s arc could have been an opportunity to showcase a woman who refuses to be tamed or reshaped into society's expectations of her. Instead, the series turns Nesta’s rage, her trauma, and her defiance into something that needs to be 'fixed.' Her difficult personality, her inability to fall into line with her family's wishes, is portrayed as a flaw—something that needs to be softened or redeemed. And how does Maas attempt to ‘redeem’ her? Through Cassian, another male figure who becomes the anchor for her so-called transformation.

Nesta's journey is framed as a reclamation of power, but in reality, it's about her fitting into a more acceptable mold of femininity—softer, more open to love, more willing to be vulnerable. Instead of embracing her as she is—angry, hurt, and fierce—the narrative pushes her toward healing only through her relationship with Cassian, effectively turning her into another woman whose growth hinges on a man’s love and approval. Nesta’s complexity is reduced to a romance arc, undermining what could have been a far more nuanced and empowering portrayal of a woman dealing with trauma on her own terms.

Morrigan is another example of a character who could have stood as a beacon of true independence and complexity but instead falls flat. Morrigan, a warrior and a survivor of intense trauma, has been closeted about her sexuality for centuries. The idea that Mor, supposedly one of the most powerful and trusted members of the Inner Circle, can’t come out to her friends after 500 years speaks volumes about the so-called "family" dynamic Maas tries to sell. Mor’s queerness is sidelined to the point where her internal struggles with her identity are barely touched upon, and when they are, it feels like an afterthought.

In a series that prides itself on presenting complex female characters, Morrigan’s queerness is handled poorly, with little to no exploration of her struggles, relationships, or emotional depth. Instead, it seems Maas is more interested in maintaining the heteronormative love triangles and keeping Mor’s queerness in the background, where it won’t disrupt the more "marketable" relationships in the story. Mor's character could have been a ground-breaking exploration of queer identity, especially in a high-fantasy setting, but instead, she remains underdeveloped, reduced to a footnote in the larger romantic plots between her friends.

What’s truly disappointing about ACOTAR is how Maas consistently sets her female characters up as strong, independent figures only to then undermine them by tying their growth, power, and self-worth to men or romantic relationships. Even when Feyre, Nesta, and Mor display moments of agency, those moments are often framed within the context of male approval or romantic entanglements. The series pays lip service to feminism by giving these women positions of power, but Maas continually reverts to tired, patriarchal tropes by ensuring that their stories are defined by the men around them.

Ultimately, Maas reinforces traditional gender roles under the guise of progressive feminism. Women like Feyre and Nesta are lauded for their strength, but their stories hinge on the approval or influence of male characters. Mor’s queerness is sidelined, never given the space it deserves in a series that is already too focused on heteronormative dynamics. And all the while, the series frames this as empowerment, as though these women are truly independent when, in reality, they are just filling the same roles women have always been forced into: defined by the men around them, by their trauma, and by their relationships.

In conclusion, ACOTAR may present itself as a feminist narrative, but it ultimately falls short by reinforcing patriarchal ideas through its characters’ development. Sarah J. Maas creates the illusion of feminism by giving her female leads positions of power, only to reduce their stories to romantic entanglements and male validation. True independence for these women is never achieved, and until that changes, ACOTAR remains a series that fails its female characters under the guise of feminist storytelling.

[thevalleyisjolly]

Something about how the finale of Shōgun (2024) subverts and resists the posthumous objectification of Mariko in defiance of Orientalist tropes. I don't think it's a coincidence that "A Dream of a Dream" opens with Blackthorne dreaming of a future in which he returns to England and lives to be an old man with grandchildren clamouring for stories of his adventures. After all, that's how these things usually go, isn't it? The intrepid sailor returns home and publishes adventure diaries about his fantastical experiences in a far and strange land. Visitors to his house gawk at the extraordinary mementos from his travels and nudge and beg for romantic tales of his travels, especially the exciting character of the foreign love interest, the intelligent yet submissive exotic woman who elicits sympathy for her unusual Christian piety and who helps Blackthorne navigate an unknown culture, ultimately sacrificing herself out of loyalty and love.

That's not the story. There won't be a story. Like the moment Blackthorne steps up to be Mariko's second -a moment where he respects her decision and both puts aside his own feelings to be there for her when she most needs it while also being there for her because he loves her- Blackthorne's decision to let Mariko's memory go serves the same significance. Mariko once told him, "We live and we die. We control nothing beyond that" and Blackthorne ultimately honours that by respecting her death. Mariko's final days were a purposeful, powerful assertion of her choice, her death was a significant and wilful act that reshapes her country forever. And no more. She will not become a ghost haunting the narrative, a wistful dream of a lost love cut short too soon. She lived and she died and it was her own decisions which gave her life (and her death) meaning, not any story or memory that Blackthorne or anyone else will hold.

Though she does not appear in "A Dream of a Dream," the narrative nonetheless centres Mariko by showing us the effects -both immediate and far-reaching- of her decisions upon the story and the other characters, while refusing to mythologize or objectify her into a sacrificial icon. And this in turn also empowers Blackthorne, who has been effectively powerless throughout the entire story, to finally make a decision that matters. He chooses to let go -of Mariko, of his dreams and ambitions, of everything that he thought had motivated him and everything he was meant to do- and live in the now. There are innocent villagers being punished for no reason. He can do something about that. There is a wrecked ship that needs rebuilding. He knows how to do that. He no longer tries to scheme, to plan, to pilot his way through the dangers and the forces that brought him here and keep him here. Instead, he embraces the winds to take his life where they will. And in a story where nearly everyone struggles for power and control, constantly trying to think two steps or ten steps ahead of everyone else, spilling blood and ink and courtesies in pursuit of the dream of a life that's always just beyond reach and true understanding...though he will never leave Japan, Blackthorne is free.

[adore-my-mane]

Embracing My Natural Hair Journey

From Relaxers to Rediscovery

As a child, I remember being fascinated by how my friends' hair stayed long and straight while mine seemed to shrink up at the slightest hint of moisture. Growing up with natural African American hair meant dealing with shrinkage and the challenge of maintaining its natural texture. I longed for the sleek, manageable hair I saw in magazines and on TV, so I begged my mother to let me try a relaxer, often referred to as "creamy crack" in the community.

The allure of having straight hair was strong, and for years, I faithfully applied relaxers to tame my curls. However, as I got older, I began to notice that my hair wasn't thriving. It seemed stuck at shoulder length, brittle, and lacking the vitality I desired. That's when I made the decision, in my early thirties, to embark on the journey back to my natural roots through a "big chop." This transformative process involved cutting off all the processed, relaxed hair and embracing the natural growth from my roots.

Discovering the Rich History of Natural Black Hair

During my college years, while preparing a PowerPoint presentation on natural hair, I delved deep into its history and significance among Black women. I learned how natural hair was not only a symbol of identity and pride in ancient African civilizations but also a means of resistance during slavery. Enslaved individuals used hairstyles to communicate messages of defiance and solidarity, reclaiming their cultural heritage amidst oppression (Byrd & Tharps, 2001).

The Beauty and Importance of African American Hair

Today, I celebrate my natural hair as more than just a style choice—it's a reflection of resilience, strength, and cultural pride. African American hair is uniquely beautiful, defying gravity with its coils, curls, and kinks. It's versatile, allowing for a myriad of styles that showcase individuality and creativity.

Introducing London's Veil: A TLC Brand of Natural Haircare

Inspired by my personal journey and passion for natural hair care, I have decided to create my own TLC brand called London's Veil. Our natural haircare line is dedicated to nurturing and enhancing the beauty of natural hair with products that are as natural as possible. I like to say, "It's so natural, it's edible—at least the gel product is!"

Conclusion

Embracing my natural hair journey has been empowering and liberating. It's a journey of self-discovery, self-love, and embracing my authentic self. I encourage everyone, regardless of their hair texture or background, to embrace and celebrate their natural beauty. Let's continue to educate and uplift each other, honoring the rich history and beauty of African American hair.

Byrd, A., & Tharps, L. L. (2001). Hair Story: Untangling the Roots of Black Hair in America. Macmillan.

[dailyanarchistposts]

J.2.1 Why do anarchists favour using direct action to change things?

Simply because it is effective and it has a radicalising impact on those who practice it. As it is based on people acting for themselves, it shatters the dependency and marginalisation created by hierarchy. This is key:

“What is even more important about direct action is that it forms a decisive step toward recovering the personal power over social life that the centralised, over-bearing bureaucracies have usurped from the people … we not only gain a sense that we can control the course of social events again; we recover a new sense of selfhood and personality without which a truly free society, based in self-activity and self-management, is utterly impossible.” [Murray Bookchin, Toward an Ecological Society, p. 47]

By acting for themselves, people gain a sense of their own power and abilities. This is essential if people are to run their own lives. As such, direct action is the means by which individuals empower themselves, to assert their individuality, to make themselves count as individuals by organising and acting collectively. It is the opposite of hierarchy, within which individuals are told again and again that they are nothing, are insignificant and must dissolve themselves into a higher power (the state, the company, the party, the people, etc.) and feel proud in participating in the strength and glory of this higher power. Direct action, in contrast, is the means of asserting your individual opinion, interests and happiness, of fighting against self-negation:

“man has as much liberty as he is willing to take. Anarchism therefore stands for direct action, the open defiance of, and resistance to, all laws and restrictions, economic, social and moral. But defiance and resistance are illegal. Therein lies the salvation of man. Everything illegal necessitates integrity, self-reliance, and courage. In short, it calls for free independent spirits, for men who are men, and who have a bone in their back which you cannot pass your hand through.” [Emma Goldman, Red Emma Speaks, pp. 75–6]

In addition, because direct action is based around individuals solving their own problems, by their own action, it awakens those aspects of individuals crushed by hierarchy and oppression — such as initiative, solidarity, imagination, self-confidence and a sense of individual and collective power, that what you do matters and that you with others like you can change the world. Direct action is the means by which people can liberate themselves and educate themselves in the ways of and skills required for self-management and liberty:

“Direct action meant that the goal of … these activities was to provide ways for people to get in touch with their own powers and capacities, to take back the power of naming themselves and their lives … we learn to think and act for ourselves by joining together in organisations in which our experience, our perception, and our activity can guide and make the change. Knowledge does not precede experience, it flows from it … People learn to be free only by exercising freedom. [As one Spanish Anarchist put it] ‘We are not going to find ourselves . .. with people ready-made for the future … Without continued exercise of their faculties, there will be no free people … The external revolution and the internal revolution presuppose one another, and they must be simultaneous in order to be successful.’” [Martha Ackelsberg, Free Women of Spain, pp. 54–5]

So direct action, to use Bookchin’s words, is “the means whereby each individual awakens to the hidden powers within herself and himself, to a new sense of self-confidence and self-competence; it is the means whereby individuals take control of society directly.” [Op. Cit., p. 48]

In addition, direct action creates the need for new forms of social organisation. These new forms of organisation will be informed and shaped by the process of self-liberation, so be more anarchistic and based upon self-management. Direct action, as well as liberating individuals, can also create the free, self-managed organisations which can replace the current hierarchical ones (see section I.2.3). For example, for Kropotkin, unions were “natural organs for the direct struggle with capitalism and for the composition of the future order.” [quoted by Paul Avrich, The Russian Anarchists, p. 81] In other words, direct action helps create the new world in the shell of the old:

“direct action not only empowered those who participated in it, it also had effects on others … [it includes] exemplary action that attracted adherents by the power of the positive example it set. Contemporary examples … include food or day-care co-ops, collectively run businesses, sweat equity housing programmes, women’s self-help health collectives, urban squats or women’s peace camps [as well as traditional examples as industrial unions, social centres, etc.]. While such activities empower those who engage in them, they also demonstrate to others that non-hierarchical forms of organisation can and do exist — and that they can function effectively.” [Ackelsberg, Op. Cit., p. 55]

Also, direct action such as strikes encourage and promote class consciousness and class solidarity. According to Kropotkin, “the strike develops the sentiment of solidarity” while, for Bakunin, it “is the beginnings of the social war of the proletariat against the bourgeoisie … Strikes are a valuable instrument from two points of view. Firstly, they electrify the masses, invigorate their moral energy and awaken in them the feeling of the deep antagonism which exists between their interests and those of the bourgeoisie … secondly they help immensely to provoke and establish between the workers of all trades, localities and countries the consciousness and very fact of solidarity: a twofold action, both negative and positive, which tends to constitute directly the new world of the proletariat, opposing it almost in an absolute way to the bourgeois world.” [quoted by Caroline Cahm, Kropotkin and the Rise of Revolutionary Anarchism 1872–1886, p. 256 and pp. 216–217]

Direct action, therefore, helps to create anarchists and anarchist alternatives within capitalism and statism. As such, it plays an essential role in anarchist theory and activity. For anarchists, direct action “is not a ‘tactic’ … it is a moral principle, an ideal, a sensibility. It should imbue every aspect of our lives and behaviour and outlook.” [Bookchin, Op. Cit., p. 48]

[buskingalbatross]

what's the one sink you can't ship? (things to do when you have come home for the day, showered, eaten, and fallen into disrepair: analyze danandphilcrafts - slime (2024) and the context of its coming to be)

or, basically, because let's be real: this is where I extol the de facto vintage princes of the internet, who have cultivated and continue to cultivate a form of video-making and community-building that is utterly novel, radiant, and defiant.

*:･ﾟ✧

one of the best things the internet has ever done is given the coolest insanest introverts the chance to be loud and be loved. to have the chance to catalogue their lives in intimate (yet distant) association with other like-minded people, and to express themselves and their perspective on the world. for Dan and Phil, what it's led to, its culmination, has been the creation of an empowered queer subculture that is deeply invested in the concept of queer devotion—the complex forms it can take, its numinous inexpressible sacredness—and that is actively, through knowing and experience of that devotion's existence, in rebellion against the extractive, unkind, unfeeling, oft-oppressive society that reigns as normative.

the experience in the world of Dan and Phil, in contrast to many experiences had in the "real" world, has always been one that's felt intensely emotional, rebellious, existential, free, full of kindness, and full of laughter and love. at the heart of dnp's community, the string tying us together, is the massive mythology and plethora of lore of dan and phil's history beginning at the point where it converged because they met. as well as the idea of two people who are as close as two humans can get to each other. the beauty inherent in that.

the relationship Dan and Phil share has for many years been the axis around which their channels, their tours, and other projects have rotated. their being able to chronicle that relationship through the internet, through youtube, and for that relationship to be, in hindsight, purely, amazingly, and even unapologetically queer from the very start, is something profoundly meaningful and artistic in and of itself.

I find it intensely amusing and, frankly, compelling, that while the phandom has become self-aware of the ridiculousness inherent in yelling about two human beings having even momentary physical contact, we cannot stop ourselves from doing it. because it feels powerful and magical and terribly unshackling. touching has become symbolic. symbolic of an amalgam of the best things about what it means to follow Dan and Phil: to be free and connected and queer, openly, and to trust in each other to be there for one other in a world that is often in opposition to people like us.

Dan and Phil holding hands for their audience to see in DanAndPhilCRAFTS - Slime in front of baphomet has to do with all the things so many wonderful people have said it has to do with: acceptance and actualization of queerness, an image of queer power, allying oneself with the other to showcase alignment against cisheteronormative society, a representation of dysfunctional, obsessive, hedonistic, codependent queer love.

And it also has to do with freedom, defiance, happiness, and confidence. It has to do with making something only legible to a niche audience of people that Dan and Phil care a great deal about, because it is fun and exciting and insanely cool. It is about embracing and celebrating the magic that flows, the creativity that flows, between two incredible queer human beings.

Sometimes I think that at least a small part of the reason We're All Doomed exists is because of the way dark things stand out on a light background. The horrors seem stark, more overwhelmingly apparent, when bumped up against great love. Injustice and catastrophe are sometimes more startling and distressing when you are privileged enough to live outside of those things, when what you return home to at the end of the day is comfort, safety, and love. In a similar way, the themes of devotion and love are often heightened in horror narratives. In this sense, Slime is also one ideal medium for sharing a story that is especially impactful to the phandom, one about Dan and Phil's relationship to each other and their community and the ongoing story of their creative lives on YouTube. The themes of love and trust stand out because of the horror, and are heightened further by the intentionality of the storyline and the control Dan and Phil exert over the plot.

what's the one sink you cannot ship? a line from Phil just after Dan says, during their slime crafting, that creativity is nothing without friendship. An inverted paradox of a line. A mystery to be solved, a thread not to be untethered, a parody of itself, a hint to a history. All belonging to all of us, all part of us.

tldr: no one is doing it like them

[bardic-tales]

GLOMP!

Just got done watching Wicked.

And now wondering about Bianca singing Defying Gravity.

Hi, Dani. Thanks for the ask. And hope you enjoyed the movie. 💚

Bianca singing Defying Gravity would be a very powerful and poignant moment. Given her very complex character the song would resonate with her struggle for freedom and the desire to break free from the constraints that has been placed upon her by either her heritage or the weight of her trauma. That theme of defying expectations and seizing control of her destiny mirrors Bia's own journey, perfectly. In a way, singing this song would symbolize her ultimate rejection of the roles others -- and especially society -- try to impose on her, embracing her true self, no matter how dark and complicated that may be.

I can see it set against a vivid scene in a one-shot. She'd be standing against the backdrop of the North Crater and maybe before the final battle between Cloud, his party, and Sephiroth and herself. Snow would be falling down around her. She would claim her power while casting off the judgement of those who sought to control or destroy her. It would represent the moment when she fully embraces her authentic self as an agent of change and unshackled from the pain of a past that had haunted her for all of her life, since she was conceived. I always pictured Bianca sounding a bit like Jessica Rabbit from Who Framed Roger Rabbit, so that husky quality in her voice would only strengthen as she sings it. While Bianca's journey is darker and more destructive than Elphaba's, they share a defiance that is deeply rooted in their convictions. I can see her voice carrying a haunting quality reflecting upon what has happened to her and accepting the prophecy that surrounded her since she was a baby and freedom from her heritage and the labels humanity has put upon her: angel, demon, cattle, and lab rat.

I think the soaring parts of the song would match her determine to face those fears, and, in doing so, reaffirm her place in the world and Omniverse -- no longer would she be a pawn of fate, but a force of change and chaos who is empowered to shape the narrative on her own terms.

Thanks for the ask again.

[realinspirations]

Leading with Purpose: Mahatma Gandhi’s Vision for Change

 Mahatma Gandhi, widely appeared because the Father of the Nation in India, became a visionary chief whose concepts and practices have stimulated generations across the globe. His management fashion, rooted in nonviolence (Ahimsa), reality (Satya), and self-reliance (Swadeshi), transcended the limits of time and geography, offering a timeless blueprint for transformative leadership. Gandhi’s vision was no longer pretty much accomplishing independence for India but about fostering a international founded on justice, equality, and compassion. This essay delves into the essence of Gandhi's visionary leadership and the enduring lessons it offers.

Visionary Leadership Mahatma Gandhi

The Foundation of Gandhi’s Visionary Leadership

At the coronary heart of Gandhi's leadership turned into a deep dedication to universal values. His vision changed into formed with the aid of his non-public studies, philosophical research, and an unshakable belief within the strength of the individual to pressure societal exchange. Gandhi's management changed into deeply rooted in standards, which served because the bedrock for his strategies and moves.

1. Nonviolence as a Core Principle

Gandhi’s unwavering notion in nonviolence changed into each a moral and a strategic choice. He saw violence as a damaging pressure that perpetuates cycles of hatred and revenge. Instead, he advocated for Ahimsa, a precept derived from historic Indian philosophy, which emphasizes causing no harm to others in idea, word, or deed. Gandhi carried out this principle to each private behavior and mass movements, demonstrating its transformative capability.

Through nonviolent resistance, Gandhi led some of the most impactful actions of the 20th century, inclusive of the Salt March and the Quit India Movement. These movements showcased the strength of collective movement grounded in peace and morality. By refusing to retaliate with violence, Gandhi now not handiest garnered worldwide sympathy for India’s motive but additionally set a ethical wellknown for oppressed societies global.

2. Truth as a Guiding Light

For Gandhi, reality become synonymous with God. He famously declared, “Truth is God.” This deep reverence for fact permeated his management, making honesty and transparency fundamental to his movements. Gandhi’s dedication to truth, or Satya, became obtrusive in his insistence on self-scrutiny and his capability to confess mistakes. This humility and openness earned him the accept as true with and admire of millions.

3. Self-Reliance and Empowerment

Gandhi’s emphasis on self-reliance, embodied inside the concept of Swadeshi, turned into a cornerstone of his imaginative and prescient for India. He believed that real freedom could most effective be performed whilst individuals and groups have become self-enough. Gandhi’s advocacy for using Khadi (hand-spun cloth) and local industries changed into not simply an financial method however a symbolic act of defiance in opposition to colonial exploitation. By selling self-reliance, he empowered the masses, mainly rural communities, to take rate in their destinies.

Gandhi’s Transformational Movements

Gandhi’s visionary leadership found expression in several landmark movements that transformed India’s socio-political landscape and stimulated comparable struggles international.

1. The Champaran Satyagraha

It become a motion to address the plight of indigo farmers in Bihar, who had been being exploited by British planters. Gandhi’s method became unique: he immersed himself in the farmers’ lives, listened to their grievances, and mobilized them to resist peacefully. This movement set the template for future struggles, emphasizing grassroots involvement and nonviolent resistance.

2. The Salt March

The Salt March of 1930 become one in all Gandhi’s maximum iconic campaigns. It was a protest in opposition to the British monopoly on salt production and taxation. Gandhi’s selection to walk 240 miles to the Arabian Sea, wherein he made salt from seawater, was a masterstroke of symbolic management. The march galvanized the state, drawing interest to the oppressive guidelines of the British and uniting people from numerous backgrounds in a common reason.

3. The Quit India Movement

Launched in 1942, the Quit India Movement changed into a name for instant independence. Gandhi’s clarion call, “Do or Die,” inspired thousands and thousands to upward thrust in opposition to colonial rule. Despite brutal repression, the motion showcased Gandhi’s ability to mobilize the loads and maintain their dedication to nonviolence and perseverance.

Gandhi’s Leadership Traits

Gandhi possessed a completely unique combination of qualities that made him an high-quality leader. His vision became now not limited to political freedom but extended to social reform, economic self-reliance, and religious upliftment. Key trends that defined his leadership encompass:

1. Empathy and Inclusivity

Gandhi’s deep empathy allowed him to connect with people from all walks of lifestyles. He championed the purpose of marginalized groups, together with the Dalits, whom he called “Harijans” (kids of God). His inclusive technique ensured that his moves had been now not confined to any particular institution however resonated with the hundreds.

2. Simplicity and Integrity

Gandhi’s simplicity became a effective declaration towards materialism and excess. He led with the aid of example, living a life of austerity and practising what he preached. This consistency between his words and actions reinforced his credibility as a frontrunner.

3. Visionary Thinking

Gandhi’s potential to ascertain a better future and articulate it in a manner that inspired movement turned into principal to his management. His imaginative and prescient prolonged past India’s independence to a international free from oppression and inequality. He dreamed of a society based totally on Sarvodaya, or the welfare of all.

The Global Influence of Gandhi’s Leadership

Gandhi’s standards of nonviolence and civil disobedience motivated numerous leaders and actions worldwide. Martin Luther King Jr. Adopted Gandhi’s techniques within the American Civil Rights Movement, even as Nelson Mandela drew idea from Gandhi’s struggles in his fight against apartheid in South Africa. Even these days, Gandhi’s teachings serve as a guiding light for activists and leaders seeking non violent answers to warfare.

Lessons from Gandhi’s Leadership

Gandhi’s leadership offers undying instructions which can be as relevant today as they had been at some point of his lifetime:

The Power of Nonviolence: Gandhi proven that nonviolence isn't always a signal of weakness but a amazing tool for accomplishing justice and alternate.

The Importance of Personal Integrity: Gandhi’s alignment of values, phrases, and actions underscores the importance of integrity in leadership.

Grassroots Mobilization: Gandhi’s emphasis on attractive and empowering everyday human beings highlights the value of inclusive leadership.

Resilience in Adversity: Gandhi’s ability to persevere in the face of demanding situations serves as a reminder of the significance of resilience in achieving long-term desires.

Holistic Vision: Gandhi’s management became not restrained to one domain however addressed political, social, economic, and non secular dimensions, offering a holistic approach to leadership.

[nelliesnellie]

Eowyn and the Transgender Imagination: An Infodump by a Trans Folklorist

I recently watched the video essay "The Queer History of The Lord of the Rings" by verilybitchie on YouTube. Much of this video was spent discussing the character Eowyn, who presents as a man in order to go to war. This is discussed along with the fairy tales of gender transformation that were plausibly influential to Tolkien when writing Eowyn's story.

And HELLO this is my wheelhouse. I'm a trans folklorist who is naturally quite interested in queerness in folk narratives. AHHH!!!

Anyway, its a very cool video that I'm linking at the bottom, but there's a lot more that can be said on the topic of Eowyn and gender-scrambly folk narratives and its filling my brain like rapidly expanding foam insulation so I'm gonna dump my thoughts out here until my brain shuts off.

•❅───✧❅✦❅✧───❅•

Eowyn's gender transgression makes her an example of what folklorist Pauline Greenhill calls the "transgender imagination."

The transgender imagination is itself an example of the potentially yielding nature of interpretations, which might further assist in extending the understandings of personhood, community, and indeed humanity for transgender and non-transgender folks alike. (Greenhill 2014. "“If I Was a Woman As I Am a Man”: The Transgender Imagination in Newfoundland Ballads.")

Pauline Greenhill is one of my fave scholars. She is one of the main folklorists to write about queerness in fairy tales, and one of very few scholars to publish about queerness in folk ballads.

Lets look at those historic anglophone folk ballads for a moment. There are a number of songs about bold young women, much like Eowyn. These often involve the heroine disguising herself as a man in order to fill a gendered role, such as a sailor, highwayman, or soldier.

These ballads typically include a lot more gender play than included in Tolkien's warrior woman. The song "Female Drummer" (Roud 226), for instance, can easily be read as an overtly trans narrative. The protagonist has no desire to return to presenting as a woman, and is joyful in gender transgression. They are only discovered when a girl falls in love with them, discovers their identity, and outs them to their commanding officer. In "The Female Cabin Boy" (Roud 239), a girl presents as a boy to work on a ship. Both the captain and his wife are attracted to her, and she becomes pregnant with the captains child. This implies homosexuality, bisexuality, and transness. The Eowyn narrative does not get as deep in the gender play, but its relation to these narratives do put it in this context of gender exploration.

One thing that is consistent in nearly every story of female-to-male gender presentation across ballads and fairy tales is a return to femininity at the end. Eowyn certainly fits this mold as well. The difference is in the motivation and circumstances behind this. In balladry, as seen in the examples above, the protagonist is often outed. In other examples, the protagonist reveals herself once she has successfully gained some sort of "win" over men (e.g. Roud 2173, Roud 7). In certain fairy tales, a reverse transformation takes place, where the protagonist undergoes a feminizing transformation at the end of the story (for more see "Queering Gender: Transformations in "Peg Bearskin," "La Poiluse," and Related Tales").

Eowyn, on the other hand, is not outed, transformed, or empowered over the patriarchy. Sure - in revealing herself she claims her own destiny, and does what no man can by slaying the Witch King of Angmar. She then returns to society as a woman once more, no longer in defiance of the patriarchy. Which like if that's what she wants, go for it. And she marries Faramir, who imo is fucking awesome, and not "an off-brand version of Aragorn" as verilybitchie put it. But ultimately her story is a lot less transgressive and gender exploration-ey as the ballads and fairy tales she relates to.

Ultimately we see, as verilybitchie indicates in their video essay, that Tolkien's straightforward old Catholic Englishman attitude does not match the potential queerness of the material he engages with. It's like Eowyn wants to be more queer, but is held back by the perspectives of the author.

Because these narratives are inherently challenging to gender and sexuality. By trespassing gender territory, new ground is reached, and Pandora's Gender Box is opened. As Diane Dugaw puts it in Warrior Women and Popular Balladry 1650-1850, the "Female Warrior is inherently contradictory to social construction of gender at the time they were popular," and "is a polyvalent heroine who has it both ways - "female and "male.""

You may notice Dugaw specifies "at the time they were popular." This because she is discussing this topic from a historical perspective. See, deviance of identity is understood differently depending on the social context. Both Dugaw and Greenhill have published really interesting stuff in this regard.

How does this apply to Lord of the Rings and Eowyn's story? Is the relevant cultural context that of the Rohirrim? Tolkien's personal beliefs? The cultural setting in which the book was written? The current day? The material, scattered across history, that inspired LotR? Probably any of the above, depending on what you're going for. As verilybitchie points out, the change in perspectives over time explains the changes in how Eowyn is presented in the books vs the movies.

BUT NELLIE. DO YOU THINK THAT EOWYN IS TRANSGENDER??? You might be screaming at the screen. I dunno. Probably not. But maybe? I could debate that question, but honestly, does it matter?

Ultimately, what's compelling about this question, is the question itself. The open door to the fact that, well, maybe not, but hey possibly there's some flavor of transness involved. This notion, this raised possibility, is the "transgender imagination" concept I brought up at the beginning of this wee essay. Eowyn does not need to be one thing or another. By inspiring the transgender imagination, she challenges expectations and opens doors across the spectrum. This is part of why characters like her are so delightful, ya know?

•❅───✧❅✦❅✧───❅•

There is so much more that can be said about this but I am fucking TIRED because I needed a rest day and instead got hyperfixated on this all day haha weeee. So I'm gonna stop myself here even though I'd love to get more into the fairy tale side of things and dig more into the actual LotR stuff.

Ultimately I really liked verilybitchie's video essay and recommend it. Just got like, some more context here weeeee. Gonna link that video essay now. Okiday. If you're here, thanks for reading my ramble!

[demonosophyandbeyond]

Jesus and the Left-Hand Path: A Harmonious Paradox

When most people think of Jesus, they envision a figure of humility, submission, and compliance. On the other hand, the left-hand path (LHP) often conjures images of rebellion, self-empowerment, and shadow work. At first glance, these two perspectives seem irreconcilable. However, when we strip away dogma and closely examine Jesus’ teachings, a different picture emerges—one that aligns remarkably well with the principles of the left-hand path.

Let’s dive into how Jesus’ words and actions reflect the LHP’s focus on personal sovereignty, inner divinity, and transformation.

The Left-Hand Path: A Quick Overview

The LHP is about self-realization and personal empowerment. It emphasizes sovereignty, self-deification, and the integration of light and shadow. Rather than submitting to an external authority or dissolving into the divine, practitioners of the LHP seek to embody their own divine potential and take control of their spiritual journey.

Far from rejecting spirituality, the LHP is a path of balance, transformation, and the pursuit of higher knowledge. Surprisingly, many of Jesus’ teachings align with these goals.

Jesus the Revolutionary

Jesus wasn’t a conformist. He was a spiritual revolutionary who empowered individuals to claim their inner divinity and reject oppressive systems.

In John 15:15, Jesus declares, "I no longer call you servants… Instead, I have called you friends." This rejection of the master-servant dynamic elevates his followers to equals, offering them spiritual partnership instead of subjugation.

Similarly, in John 14:12, he challenges his followers, saying, "Whoever believes in me will do the works I have been doing, and they will do even greater things than these." Far from demanding blind worship, Jesus encouraged his disciples to surpass him, using his teachings as a foundation to achieve greater things.

His words in Luke 17:21, "The kingdom of God is within you," emphasize inner divinity. Salvation, he taught, wasn’t found through external rituals or institutions but through self-discovery and personal transformation.

In John 10:34, Jesus quotes scripture, saying, "Is it not written in your Law, ‘I have said you are gods’?" By reminding his audience of their divine nature, Jesus shatters the illusion of separation between humanity and the divine—a core belief of the LHP.

The Gospel of Thomas echoes this sentiment. In saying 70, we read: "If you bring forth what is within you, what you bring forth will save you. If you do not bring forth what is within you, what you do not bring forth will destroy you." This call to self-awareness and shadow work mirrors the LHP’s principles.

Challenging Religious Conformity

Jesus often clashed with the religious leaders of his time, rejecting their hollow traditions in favor of genuine spirituality.

In Mark 7:6-9, he rebukes the Pharisees: "You have let go of the commands of God and are holding on to human traditions." He highlights how religious leaders prioritized empty rituals over spiritual growth, a critique that resonates with many modern-day seekers disillusioned by institutional religion.

In Matthew 23:23, Jesus calls out their hypocrisy, saying, "You give a tenth of your spices… But you have neglected the more important matters of the law—justice, mercy, and faithfulness." This shows how even strict adherence to the law can miss the point when the spirit of the law—compassion and growth—is ignored.

One of Jesus’ most striking acts of defiance occurs in John 2:13-16, when he drives out the moneychangers from the temple, exclaiming, "Stop turning my Father’s house into a market!" This act reflects modern frustrations with institutions that prioritize wealth over spiritual connection, such as churches that pressure congregants into excessive giving.

The apocryphal texts add even more layers to this critique. In the Gospel of Thomas, Jesus says in saying 39: "The Pharisees and the scribes have taken the keys of knowledge and hidden them. They themselves have not entered, nor have they allowed those who want to enter to do so." This rejection of religious gatekeeping aligns perfectly with the LHP’s emphasis on personal spiritual sovereignty.

Shadow Work and Transformation

Shadow work is central to the LHP, and Jesus’ teachings reflect its importance.

In Matthew 4:1-11, Jesus spends 40 days in the wilderness, facing temptations and inner struggles. This wasn’t just a test—it was an initiation into his purpose, a confrontation with his shadow.

In Matthew 16:24, Jesus calls his followers to "take up your cross and follow me." Far from a demand for submission, this is an invitation to confront the ego, face life’s trials, and emerge transformed.

The crucifixion itself is a profound metaphor for transformation. The cross represents the death of the old self, while the resurrection symbolizes rebirth and empowerment. This mirrors the LHP’s process of facing the abyss, sacrificing outdated beliefs, and rising renewed.

Conclusion: A Call to Personal Divinity

Jesus’ teachings reveal a revolutionary mystic who encouraged us to reject oppressive systems, embrace our inner divinity, and transform through trials. His message wasn’t one of submission but of empowerment—a call to go beyond him and embody our godlike potential.

For those of us on the left-hand path, Jesus’ words can be a profound source of inspiration. They remind us that spirituality isn’t about conformity or blind obedience but about self-discovery, growth, and the courage to walk our own path.

As we reflect on Jesus’ teachings, let’s remember: the kingdom of God is within us.

Stay curious, stay empowered, and keep seeking your truth.