#the whole identity thing is getting so so old

[melaninfury]

Astrology Harsh Opinions

Please don’t take this as astrological facts. These are more my experience and perspective. The whole chart and aspects must also be considered.

- one things for certain and two things for sure if there is cancer in the first house or especially the sun side. I know you are a road rager and you need to stop.

- Yes, Libra placements you are people pleasing even when you’re trying to please yourself.

- I second this if you have personal planets like Moon, Venus, Mercury and Mars in the Seventh house. Just please choose yourself first and stop trying to make your identity being a savior.

-Scorpios are you done being my way or the highway about important deep, compromising issues in love? Let your toxic internal ways go and let people accept you not enable muah 💋

- Aries, you know that anger and motivation are not passionate ways to solve your emotional problems. Please feel deeper and unlike a two year old child 🙇🏽‍♀️ (movement can be still and internal)

- Libra Venus always wear or do something socially adorable. Poole either love their nails, shoes clothes, love life or simply even their furniture in the house. Y’all have aesthetic.

- Virgos and intense Virgo placements like Virgo mars in the 6th house or having planets at Virgo degrees. I always notice this connection to animals or pet companions. They have this understanding of pets being of service to its owner. So for example I noticed they always have a lifelong pet or multiple pets that become apart of their life not just an accessory. Their houses will be filled with the existence of their pet companion.I do think that being that the 6th house, rules over pets and acts of service virgos (depends how aspects and house at the end of the day) usually like or animals like them in some way. This is the person who always loves to hold their friends pets or feels like an aunt or uncle to others fur babies. Will pet animals on the street.

- I personally think voiceover astrological readings are wayyyyy more thorough and detailed than written or typed ones. But to each its on your learning something you know.

- Yes Sagittarius placements are the hidden people pleasers. Very outwardly focus. You want your thoughts to matter and who you are in the world to matter but in a way where it leads others. It’s a way to be validated but also validated for what they want not just what people like about them. They would rather instead of being called pretty and nice to be seen as a leader and wise (maybe both). If you value their opinions and let them be friendly to you. You’ll see they care very deeply about being validated not as free as a stereotypical sag sun sign but let it be in the 9th house or especially a Sag Moon. They want to be validated on a philosophical level mentally they please to know their worth, not just to be seen and in a relationship.

-I’m sorry but most people with Scorpio mars get around…sorry. Y’all always are sneaking and having some ACTIVE 👀 experiences in their life. Usually always moving with desires, one they connect on a spiritual or deep level they attach quick. So if their still talking to people or in a relationship I find them to wander when their spirit and deep level desires fade and have served their purpose. They also are just very passionate. They feel even when they don’t know how to flow or deal with their emotions. You will know if these people want you or especially want to F you. Trust me you will know.

- Virgos and Leos always skeptical and unbelieving in astrology but the first one to cry or want a reading when you prove them wrong.

- Why does everyone use astrology for fame and beauty all the time or want to look at the surface level of synastry?Let me elaborate, you say you want to know if you're gonna be famous? Why do you not have a career or a focus in mind. Hell why are you wanting to learn astrology but you refuse to study or look up different interpreters. Most information you all see is accessible if you are so hell bent on being what you think you are. First start with who are you and what makes you likable. If your so concerned if Timmy likes you, why don't you just google, study all aspects and pull up the composite, etc.

-Moon mars Synastry is a dupe. They either hate you or are entirely too handsy. But if you're lucky you are not just compatible but in tune with each other. You become intermingled into emotions spirit and creativity together. You will look good together or be good in theory but these two plants must merge peaceful. If your Synastry is chaotic or aspects conflict you will have some strong elusive emotions towards each other or one is surely to suffer if you let the dynamic play out for too long.

- Moon conjunct Uranus natal, especially if one or more planet is retrograde. Who never loved your parents and made them never show love and affection properly to you. Please figure that out before you internalize...

- Bro I don’t get jealous but if I did I would be jealous of Venus moon conjunction in general or in Libra. Y’all dress so nice, always look put together. There is style there and it’s usually distinct even if it’s not unique. You look good okay 🤷🏾‍♀️

- Sneaky sneaky Aquarius, always playing detached when you’re really psychologically (psychopathiclly) calculated and emotional. Water bearers I mean. Guard your emotions all you want. I and the rest can see you care through your actions. Even when you pretend you don’t. And revenge is still trying to emotionally hurt people!

- Water signs…yeah you question. What do you think about telling the truth just to be a good person. No need to think of pros and cons or what you’ll get out of it before. Simply just be brutally ✨ honest ✨

©️ All Rights Reserved melaninfury

[librarycards]

Jenny Odell: I sometimes feel that in an individualistic culture, people get freaked out by the idea of being tied down or responsible for anything. Thinking about a gift economy, they might say, “I want the gift part but not the accountability part.” Lately, I’ve been volunteering in this native plant restoration group, and one of the most surprising parts has been how enlivening it is to help keep something else alive (I’ve never had a garden before). Sometimes I truly can’t tell whether I’m giving or getting. What are some ways that you see participation in a gift economy changing the participant’s sense of herself and her place in a network? In other words, is participation itself part of the gift?

RK: Yes. Exactly. Participation is part of the gift, where giving and getting meld into one another. A garden teaches you that every day. Gifts and responsibilities are always coupled to each other.

Of course, you’re right that given our hyper-individualistic culture, many people are not eager to embrace responsibility. Its often confounded, I think with the notion of “obligation”. Obligation feels to me like an involuntary demand on our time and energy, imposed from outside without the assurance that you’ll benefit in return. I’m sometimes reluctant about that, too. But, responsibility is an invitation to respond to need, an opening to reciprocity in which the benefits flow both ways. The benefits of participation in a gift economy are not only flowing to the gift recipient but the giver as well. Working on your restoration project, or any other gift exchange strengthens your own sense of agency, doesn’t it? It awakens care and compassion, builds relationship and nurtures your own identity as a person of capacity, of having enough abundance in your life that you can share it. I think it contributes to a sense of purpose, which we know is good medicine. It reminds you that you matter, that you’re part of something. That’s a big reward.

I find that some of the times that I feel most fully alive are in experiences of shared physical work in community with others. Like an old-time husking bee or shared planting. We’ve lost so many of the opportunities for that and gift economies provide the opportunity to work in common, to satisfy the need for belonging. And when that work is on the land and the benefits flow into our neighborhood of many species, the benefits are multiplied beyond the boundaries of ourselves.

JO: There is a really beautiful analogy you draw between the economy of nature and the human gift economy. Asking what in the gift economy functions as the “sun”–the constantly replenishing source of energy–you speculate: “Maybe it is love.” Reading this, it occurred to me how love is in essence a surplus, the force that gets things going. Could you speak more to the emotional and practical role that things like love and gratitude play in a gift economy? And how do they change the way we see “resources”?

RK: The fundamental currency of a gift economy, is relationship, not money. I suppose it’s what some people call “social capital”, but I’m not fond of that term. Participation in a gift economy could create a whole continuum of relationships, from the warmth of being cared for or an expanded sense of justice to just plain neighborliness. This can create a sense of security because mutual reliance grows from gift exchange. There is a sense of satisfaction in being able to give, and a sense of kinship in being able to receive, when we share the mutual acknowledgment of human vulnerability. For me, that continuum of relationships includes the possibility of a currency of love and gratitude that motivates the gift exchange, which is the source of the flow, between people and between people and the earth as well.

Gift-giving is a way of saying “I see you.” I see what you need and I see what I have to share. My well-being is tied to yours and yours to mine. It develops a trust that when I am in need, there will be abundance shared with me. The giver and the recipient are honored at the same time. That seems a lot like love to me.

Robin Wall Kimmerer, interviewed by Jenny Odell, Gift Thinking. [emphasis added]

[starry-bi-sky]

Blood Blossom Au: Baby's First Commissioner Meeting :)

TL:DR This Post: Danny (orphan) gets poisoned with blood blossom extract by Vlad. He runs away from him and ends up under the care of one Pre-Robin Battinson Batman! Starry is loudly pushing her batdad agenda.

(Also known as "Late At Night, When The Nightingale Sings" on my ao3!)

This was a fun rough idea I've been sitting on for weeks, thinking about how Commissioner Gordon and Nightingale's first meeting might go.

---------------

Commissioner Gordon likes to think that he's adjusting to the new normal of Gotham very well, -- the new normal being grown men running around dressed like bats, in military-grade strength body armor, committing acts of vigilantism, -- and slowly, little by little, he was no longer being surprised when this new normal pops up out of the shadows like the world's most terrifying daisy. His shaving lifespan thanks him for it.

....

The kid is a surprise though.

Granted, he seemed to be a surprise to the Bat too.

There's been a string of murders lately, -- which, in Gotham, is kind of like saying there's been another storm during monsoon season. And there's just been another; in some dilapidated building down in south Gotham, with the broken, boarded-up windows and mildew-crawling walls to match. The victim is a man in his thirties, multiple gunshot wounds to the chest, left in the center of the room for the blood to pool out around him.

The place is already secured when he arrives, the building swarmed with officers and the forensic detectives. The Bat emerges shortly after he does -- or, he might've been here the whole time, hiding someplace dark and shadowy. For his own sanity, Gordon doesn't think about it too hard.

The kid is a surprise, and he appears like a bolt of lightning.

He shows up in the middle of a conversation Gordon is having with the Bat.

A whistle, sharp and loud, slicing through the air, meant for open air rather than a confined space. Gordon's ears pierce and protest the sound, and the solemn, murmured chatter floating through the room abruptly cuts off like the swing of a gavel. As he turns towards the sound -- as they all do -- he swears, up and down, that he sees Batman's shoulders jump, just slightly.

At the source, perched on the window, is a boy. A boy in a gray-blue scarf and an oversized black hoodie, one that hangs off his frame and has ace bandages wrapped around the wrists in some attempt to cinch the sleeves. The hood is up, big like the rest of it, and threatens to swallow the upper half of the boy's face whole in the fabric. What upper half Gordon can see, is smeared with some kind of opaque, black face paint. He's holding onto the side of the frame with one hand, on his hip is a grappling hook. A familiar grappling hook.

Gordon has multiple questions, and his officers tense up.

Martinez puffs up, brows furrowing as his face shapes into a frown. Shoulders rolling back. "You can't be here, kid--"

The reaction is immediate, like a spark to gunpowder, the boy yanks his fingers from his mouth and his mouth twists into a scowl. Head snapping over to Officer Martinez, his hood manages to stay on but Gordon swears that as he bares his teeth, the glint makes them look sharper than they should be. His voice is rasp and quiet and harsh; snappish in its hissing; "Put a fuckin sock in it, Martinez. I'm not stayin."

Martinez reels back, and the boy immediately veers his attention off him. Like a switch, his demeanor drops. Despite half his face being covered, his mouth twists into a cringing, apologetic smile. Slanted and off-beat, embarrassed. It'd be disarming if this wasn't Gotham, and if he didn't just hiss at Martinez like he was about to bite his head off.

"Sorry." He whispers, voice deceptively polite and softer now. Gordon has to strain his ears to hear him. "I was looking for him."

He points his finger towards-- Gordon? No, Gordon follows the direction, and finds himself looking at -- the Bat.

The Bat, who always looks stiff as a pole, now looks even stiffer. Somehow. Well, the explains the grappling hook attached to the boy's waist.

"What are you doing here?" The Bat says, gruff and unable to completely smother the stumble of surprise in his tone.

The boy still holds a sheepish smile, and slips off the window ledge. His feet hit the creaky boards with a near-silent thud, the Batman finds his feet and rapidly begins crossing the room.

Gordon notes the slight tremble in the boy's legs as he straightens. He adjusts his scarf, which droops close to his knees now that he's standing, and slings a backpack -- how long has had that? -- off his shoulders. When the Bat reaches his side, he does as he always does, and looms over the boy like a spectre. A threatening mass of shadows cloaked in all-consuming black. Standing next to him, the boy looks teeny in comparison.

The Bat is a man who terrifies even the most hardened criminals, Gordon has seen grown men shiver in fear at the mention of his name. And yet when the boy looks up at him, he doesn't even flinch.

Instead, his sheepish smile melts away like ice under the sun, holding only traces of his previous embarrassment. It remains as a shadow on his face, a small upturn at the corners of his mouth. The boy pushes his hood back just enough to reveal glinting, ice-flint eyes surrounded in tar-black face paint. He holds the backpack up with one arm. "You forgot this."

[blueskittlesart]

the master works discourse on twitter is killing me. none of these bitches understood the game or its characters AT ALL

[winteriron-trash]

rdj the (whitewashed) electric boogaloo

This is a reminder to everyone who's excited about RDJ's casting as Doctor Doom that this casting is whitewashing. Victor Von Doom is a Romani character and has been a Romani character since his introduction in the 1960s. (Fantastic Four Annual #2 [1964]) Not only that, but his Roma identity and the persecution he and his family faced due to it is integral to his character, it is what forms his identity. (Books of Doom by Ed Brubaker) Even if on the off chance this casting is meant to not be Victor but instead be some variant of Tony or whomever else becoming Doctor Doom, it is damaging to the character to rob him of that important cultural background. Doctor Doom does not exist without that history. Fans have been pushing hard to cast Doom as a Romani actor for years, especially since the MCU has whitewashed other Romani characters. (Wanda, Pietro, etc) This casting is not a celebration moment, it's fucking heartbreaking that the MCU repeatedly ignores the important and nuanced cultural backstories of characters.

I know I can't change anybody's mind on whether or not you want to be excited about RDJ's return to the MCU. But I do think at the very least you should be mad that the MCU is baiting us all and destroying nuanced and interesting characters for the sake of self-referential easter eggs and nostalgia bait. Because that's what it is. Feel how you'd like to feel about RDJ's return, but personally, this is soul-sucking. I had such a deep love for the MCU as a teenager, it was obviously something incredibly formative to me, especially Tony Stark. This isn't recreating what I fell in love with the MCU for. This is turning a well-planned and artistic storyline of adaptations into cheap cash grabs and fan service. Because, I think we're past the point of being able to call the MCU an adaptation of anything. They can use existing characters' names and powers, but to say they're being properly adapted is laughable.

This is not an adaptation of Doctor Doom. This is RDJ the Electric Boogaloo because Marvel's fear of losing the interest of dedicated MCU fans overrides their willingness to tell stories that are genuine to the characters. I don't know what there is to be excited about that. The MCU has lost its authenticity and aside from a few projects, feels heartless. Every movie is a copy of a copy. This announcement isn't something celebratory, it feels like a death knell of a cinematic universe that's so desperate to cling to relevancy it's resorting to nostalgia for a character/actor who hasn't even been dead for a decade. We're not getting anything new, we're just rinsing and repeating the same song and dance.

I get it. I love Tony Stark, his death destroyed me and I to this day, rue the ending he got in Endgame. It misunderstood his arc and it robbed him of a satisfying conclusion. But the solution to that isn't dragging the corpse out of the grave five years later to whitewash an existing character with rich and interesting nuance, just to forcibly tie his existence in the MCU to Tony. Whether he is a variant or not. Why would you want someone else's fave's legacy to be destroyed simply so your fave's legacy can go on? Hell, if we were really all so hellbent on the return of RDJ and/or Tony to the MCU, we have the multiverse for a reason. There were other ways to do it that didn't whitewash and ruin someone else. This just. Isn't something to be happy about.

[toytulini]

Thank you for your tags on the baeddalism post. As someone who is aroace (formerly biace) and a nb transmasc I've literally watched every identity I have be dragged into discourse time and time again and it's always the exact same rhetoric to a nauseating degree. People are so terminally online that they constantly invent new nonexistent stereotypes of other queer identities to get mad at or just pick a queer identity to be the monster of the week, and it's excruciating to see it repeat the same way everytime.

I wanted to try to respond to this more eloquently after i had some caffeine, but if we wait for eloquence itll go unanswered for years. but lmao yea of course. Im also aroace and enby. I was here since like 2014, I suffered through reading all these same stupid arguments about a-specs and my tolerance for it is so fried. The queer infighting and gatekeeping bullshit is so rotting. I hope we learn one of these days. My disillusion that this keeps fucking happening is at least tempered by the fact that all the blogs who I followed for good takes on inclusionism and queer solidarity during the acecourse are also not tolerating this shit, and they are recognizing it as the same old bullshit its been the whole time.

[guiltyidealist]

I was immediately smitten with Hayabusa when I first played Okami.

I considered him my husband and shipped myself (Ammy) with him.

It blew my MIND when he wound up being more than just another dog... He was a whole dude and I had to fight him and he used his digging techniques because of course he would have digging combat moves!!!! He had an entire PRECIOUS backstory, and I actually teared up the moment he saved Mushi from Orochi's arrow.

Here I'm pictured carrying him (side note: I wish you could still carry him after you find out he's a canine warrior ): ), fucking him????????? jumping with him, digging shenanigans, and cracking open a cold one with the boys

He's a Kai Ken apparently, which is 1/6 Japanese breeds alongside the Shiba Inu. I've only ever seen one kai ken plushie and it's fuckin $50 😭😭😭

[arolesbianism]

Upon further examination, I am leaning more and more into Otto being a nonbinary egg opposed to a nonbinary person who uses he/him pronouns. Thanks for the help Mi-ma <3

[valctovoel]

Hi, i was wondering for a while now, what was that deal between carlos and lucious? What did carlos want that getting a deal with demon sounded like a good idea?

Carlos is a surgeon, except he puts waay too much pressure on himself for his own good. The moment he fails he sees himself as the ultimate failure (he has massive impostor syndrome). And he does fail one time, which costs him a life, which results in him spiraling into depression and self-doubt. Shortly afterward he finds a post on a forum about a wish-granting ritual, he's mentally in the worst place possible so he tries it. He wishes to not fail again, except the ritual summons a demon (luci) who is willing to grant the wish in exchange for his soul. Carlos agrees because what other option did he have? (he had a lot but he's not the sharpest tool in the shed)

So now he's stuck with Luci who periodically comes around to annoy him (he's very irritating) and slowly Carlos just stops being afraid of him.

[authorwithissues]

.

[the-judicial-assistants-notebook]

why didn't they just use franziska for literally all of this.

[aprivateplace7]

Tbh some things do bother me about Promare... most of them to do w/ Kray :v but overall i still love this movie <3 prob my fav anime movie...? I haven't watched enough of them tho

[bodymachine]

look away im having thoughts about the two medieval lit classes i took in college

[tiredandoptimistic]

The thing I can't get over is how Ford just fails to grapple with the enormity of Stan's thirty year lie. He's angry at Stan for taking over his life, which is fair, but also means that he can't see all the ways in which Stan made it his own. Like him or not, everyone in town is familiar with Stan Pines. He's fully established himself as a part of the community, and on top of that he's been running a successful business and teaching himself interdimensional physics. Ford writes in Journal 3 that "it's hard to believe the parents would trust these kids with Stanley; they clearly thought he was ME!" because he can't grasp the fact that, to Mr. and Mrs. Pines, there's only ever been one "Uncle Stanford," and he's the wacky old conman who fought off his brother to hold the newborn Dipper and Mabel just a little longer.

I'm saying this because I love Stan and thinks he deserves credit for all the ways he's pulled his life together, but also because I love Ford and need to talk about the existential horror of having your whole ass identity literally taken from you. He can't accept that Stan could be seen as a responsible guardian, but what's even worse is that "Stanford Pines" is beloved not through Ford's merits but Stan's. He left so little impact on his town and on his family that Stan could completely take over without anyone noticing. Shermie is his fucking brother, and he couldn't tell the difference because both twins were equally absent from his life.

On the flip side, Stan finally got to settle down and succeed at life, to do all the things his dad said he couldn't; but he only escaped his role of "the screwup twin" by literally taking over the identity of "the successful twin." No matter what Stan did, how reconnected with his family, it was always as someone else. Stanford could do it all, but first Stanley had to die.

I feel like this got a little depressing, but what I love about the Stans is that their story is fundamentally about hope and possibility. They may have both spent their twenties fucking around and finding out, but the story didn't end with the darkest hour. They've got time to be a family, to get to know the Pines' and the town of Gravity Falls as themselves. I adore the little detail at the end of Weirdmageddon, when Shandra Jimenez says "local hero, Stanley Pines" in her broadcast, because it proves that they're both finally getting the credit they deserve under their own names. Stanley and Stanford, distinct yet united.

[omgthatdress]

The Importance of Studying Queerness in Context.

When studying queer history, one always has to keep in mind two seemingly contradictory things: firstly, that queerness and queer people have always existed, but at the same time, that queerness and queer identities have not always existed the way they exist today.

Modern queer terms and identities did not exist to queer people in the past. They would not have thought of themselves as "gay" or "trans" or even "queer." While these modern terms may seem to fit certain historic individuals, these individuals would not have thought of themselves as such, and it would not be a part of their lived experience. To apply the modern identities of queerness to history is to erase the lives and experiences of queer people in history, and care must always be taken to understand queer history within the context of its time.

When looking at queer history online, there is a *lot* of misinformation and misidentification out there simply because people are eager to apply modern queerness to history, often in places where it doesn't belong.

A lot of old photos get misidentified as gay because they show two people of the same sex showing some level of physical affection towards each other. Okay, I'll admit that the open-mouth kissing photobooth pictures are probably actually gay, but an old picture of two men or two women holding hands or with their arms around each other, or even kissing on the cheek, were common shows of platonic affection.

I hate to break everyone's gay little hearts, but without explicit documentation saying so, assuming that these couples are all gay is putting modern queer identity in places where it simply didn't exist. The women in the final picture are sisters. The "not married" boys are bachelors interested in marrying women.

In the silent film Wings, the emotional climax of the film comes in the form of a kiss exchanged between the characters played by Jack Powell and David Armstrong. It often gets attributed as the first gay kiss in cinema history, even on the fucking YouTube clip I found:

Except it isn't gay. The two men spend the whole film fighting over who gets to be Clara Bow's boyfriend. When Richard Arlen's character is fatally wounded, his dear friend rushes to his side and kisses him goodbye, because in the 1920s, that was considered the ultimate show of friendship. The movie ends with Jack Powell falling in love with Clara Bow.

Similarly, a kiss shared between Lillian and Dorothy Gish in the 1921 movie Orphans of the Storm often gets attributed as being queer, but it wasn't.

They were sisters playing sisters. None of this was considered unusual.

Pooh-poohing on all of these images that so many people on the internet breathlessly and joyously laud as proud gay history isn't fun. It makes me feel like I'm fucking Ben Shapiro. But if misinformation is allowed to flourish, it allows people like Ben Shapiro to come in and make the argument that queerness is a modern invention and queer people didn't exist in the past.

Everyone loves to see queerness represented in history, but the fact is that none of the stuff in this post would have been seen as explicitly gay and thus shouldn't be called gay today. If we are to understand queer history in its fullness and richness, it is absolutely crucial that we get it right. We owe it to our queer ancestors to recognize, honor, and not embellish the actual lives they lived.

[waffled0g]

Everyone gets “The 90s” look wrong and I hate it

Couple years ago I saw these two board games at the store back to back. Well, not saw them per se, but ya know. Spied them out of the corner of my eye. And for a moment without reading the text, I couldn’t tell you which was which decade at first. Funny. Either they were in a rush to get these out the door or they wanted their throwback trivia game boxes to look uniform. I didn’t think too much of it.

Only, from then on I started seeing it MORE. Every time someone markets a 90s or 80s throwback...

Goddammit they’re identical! What??! How did we let this happen? As a 90s survivor and a designer, this drives me up a wall.

Look, I know I’m late to the party to complain about “the 90s look” when we’re just starting to get sick of the Y2K nostalgia train. But c’mon, the 90s were not The 80s: Part Two™ 

Trust me when I say that we weren’t all wearing neon trapezoids up until the year 2000. The 90s look being peddled is so specific to the tail end of the 80s and an early early part of the 90s - a part of the 90s when it wouldn’t stop being the 80s. This is Memphis design being conflated with the wrong decade.

Keep reading for a long ass graphic design history lesson and pictures of old soda and fast food.

Specifically, the look is Memphis Milano, self-named by the Italian design house Memphis Group. Starting in the early to mid 80s, they made all sorts of furniture, fabrics and sculptures that were like a Piet Mondrian grid painting under heavy radiation. Their whole deal was defying the standards of existing industrial design up to that point on purpose. Chairs had weird arches, bookcases would be in strange alien colors, unusual materials like plastic or elastic were used in place of metal or wood, that sorta thing.

Memphis quickly became the signature look for the decade. You can tell something’s influenced by Memphis design from it’s telltale trademarks:

Clashing, neon colors.

Use of diametric shapes.

Contrasting patterns like zebra print stripes, confetti squiggles and checkerboards.

It wasn’t long before Memphis Milano-inspired design was everywhere in 80s pop culture:

It was a special time, yes.

I was a kindergartener at the tail end of the 80s, so I knew Memphis mostly through the lens of kids media. Toys, clothes, games, tv shows used it like candy colored catnip. Cable channel Nickelodeon more or less adopted the Memphis aesthetic as their signature in-house style and practically built a monument to it at a Florida theme park:

I think this is why folks mistake what decade Memphis is representative of - 90s staples like Nick, Saved By The Bell, Fresh Prince - they all stayed around much longer than the design trend’s expiration date. 

Couple that notion with the fact that companies are slow followers to design trends. Something gets popular and they want to get on the bandwagon? Gotta wait for the ink to dry, gotta wait for the production molds to be made. It would take a few years for them to completely work Memphis outta their system.

Now, this is not to say Memphis is bad! Personally I’m a fan of the aesthetic, if my neon-drenched artwork wasn’t a tip-off already. But it is a trend, and trends never last forever.

So what took the Memphis Milano look down for good? This part’s up for debate, but I personally think it had something to do with this dude:

It’s that grunge music from Seattle that’s so popular with the kids these days dontchaknow.

Once Smells Like Teen Spirit hit in 1991, the Nirvana tone drove the rest of the decade. Clean geometry became weathered, grainy and organic. Bright neon pastels became more bold. Bubblegum pop music sounded fake and manufactured. Attitude and apathy was authentic. Whatever.

Things got grungy. Things got grimy. Olestra was invented.

I think the best way to visualize this transition is how Cherry Coke entered the decade and how it left it:

1992 Memphis on the left, 1998 grunge junkie on the right. Fitting that the 90s would end with a design that looked like Darth Maul’s lungs.

Okay, so what should 90s retro design look like?

Continue on to PART TWO! Spoilers: No VHS filters or vaporwave needed, but maybe bring an antacid.