#the world is full of many and varied forms of entertainment

[room-surprise]

Shuro's Ninja Girl Squad: Why do they have code names? Does Toshiro have a code name????

(WARNING FOR GENERAL SPOILERS!) The culture of Wa Island appears to be inspired exclusively by historic Japan, since all of the characters that come from Wa have Japanese names, clothing, weapons, and magic, they eat Japanese food, imagine traditional Japanese-style artwork, and obey Japanese social norms.

THE NINJA GIRL SQUAD

Maizuru, Hein, Benichidori, Inutade and Izutsumi are servants that work for the Nakamoto family, and they have been assigned to travel with Toshiro, serve and protect him. In some translations they have been called retainers. I’m not sure what the original Japanese calls them, but most likely some form of servant or vassal, such as 家臣 or 家来.

A retainer is a part of a retinue, which is a group of people who are "retained" (employed) in the service of nobility, royalty or a dignitary.

Retainers can have many varied functions, such as domestic servants, personal attendants, bodyguards, porters, musicians, tutors, translators, guides, etc. Retainers often wear some kind of uniform, possibly bearing the colors or insignia of their lord. They serve their master, but they also expect to be protected and cared for by their master as a part of his household.

HISTORIC JAPANESE NAMING CONVENTIONS

Japanese personal names were fluid in the pre-modern era. Men changed their names for a variety of reasons: to signify that they had attained a higher social status, to demonstrate their allegiance to a house or clan, to show that they had succeeded to the headship of a family or company, to shed bad luck that was attached to an inauspicious name, or simply to avoid being mistaken for a neighbor with a similar name.

Changes in women's personal names were recorded less often, so they may not have changed their names as frequently as men did, but women who took jobs (such as maids or entertainers) frequently changed their names for the duration of their service. During their employment, their temporary names were treated as their legal names.

THE NAKAMOTO CLAN’S NAMING PRACTICES

All of Toshiro’s servants, Maizuru, Hien, Benichidori, Inutade and Izutsumi, have real names and work-issued code-names, similar to the Japanese practice I just described. Only Izutsumi seems to mind this, the rest of the characters use their aliases all the time.

All of the ninja code-names are plant-based, and Maizuru, Hein and Benichidori’s names also have a bird theme, something they do not share with Izutsumi and Inutade. All of the birds they are named after have been popular in Japan since ancient times and are considered lucky symbols. The plants Maizuru, Hein and Benichidori are named after are also all beautiful flowers, while Izutsumi’s is a toxic shrub and Inutade’s is a weed.

This may be meant to show how Izutsumi and Inutade’s status is separate and lower from the other three.

Interestingly, although Toshiro is their master, he also has a nickname, given to him by Laios, that sounds like a plant, which matches his subordinates!

Perhaps the way Toshiro endures this nickname and doesn't protest it, is a hint that Toshiro does not want to enforce his position as a superior to his subordinates, but wants to treat them with compassion and empathy, because he does not consider himself better than them. He demonstrates this when he gets down on his knees and begs Maizuru and the others to help him save Falin, since this is going outside of their standard duties.

This unusual humility and kindness is probably why the World Guide says Maizuru thinks Toshiro will be a better leader than his father.

If you want more details, and to read a full analysis of all of their names and code-names, be sure to check out Chapter 6 of my essay!

BONUS: TOSHIRO’S SECRET NICKNAME???

Laios, mishearing Toshiro’s name during their first meeting, started calling him シュロー (Shurow), and told everyone they met that his name was Shuro. Toshiro, too embarrassed to correct him, has allowed this to continue for the three years that they’ve known each other.

Shuro (棕櫚 or シュロ) is Trachycarpus fortunei, the Chinese windmill palm or Chusan palm. It is a species of evergreen palm tree in the family Arecaceae, native to parts of China, Japan, Myanmar and India.

Windmill palm is one of the hardiest palms. They tolerate cool, moist summers as well as cold winters. Trachycarpus fortunei has been cultivated in China and Japan for thousands of years, for its coarse but very strong leaf sheath fiber, used for making rope, sacks, and other coarse cloth where great strength is important.

This is very funny, since we know that Toshiro is one of the strongest characters in the story, due to his skill with the blade... But we also know he's insanely patient (tolerates everything, just like the palm!), because he puts up with Laios bothering him for years before finally snapping and asserting his boundaries.

Plus, a palm tree used to make humble but strong items such as rope, sacks and coarse cloth, really shows Toshiro's true nature (a strong but humble man) versus his aristocratic status.

THREE TYPES OF BROOM

A Shuro Houki (棕櫚箒) is a traditional Japanese hemp-palm broom made from the Trachycarpus fortunei palm.

There are three distinct subtypes of this broom, the first two of which are considered very durable and the last one which is considered expendable. The Hon-onike Houki will last for 1/3rd of a person’s life, a Onike Houki you’ll need to replace every 15 years, and a Kawa Houki can be thrown away after 2 years of use.

Toshiro is the oldest of three brothers, and they are competing for their father’s favor to see who will become the heir of the household… Their father is testing them to see which of them is disposable, and which of them is strong enough to lead the family. Which type of broom are they?

SHURO THE HUMAN NAME

It should also be noted that Shuro is a Japanese name, it just isn't a nickname for Toshiro. The correct nicknames for Toshiro would be Toshi, or Shiro. Shuro sounds similar to Shiro, but it would be like calling someone named Robert the nickname Bart instead of Bert, or calling Matthew Pat.

Depending on the kanji used Shuro can mean several things. I think the most appropriate kanji is 修郎.

修 means to make right, to be in shape, to become correct, to put things together, to learn, to acquire learning or skills, to decorate, to harmonize, to fix, to mend, to put together in a book, good, excellent, beautiful, splendid.

郎 means male, men, young men, boy.

While Toshiro’s actual name describes him very well, his nickname, given to him by Laios, is also extremely accurate. Laios’ name means “left” and “wrong”, so Toshiro’s name potentially meaning things like “right”, “correct” and “to fix” is extremely funny and appropriate!

They can fix their friendship!

[omgthatdress]

At the height of his fame, Julian Eltinge was one of the most celebrated entertainers in the world. He starred on Broadway, toured all over the world, and even performed for England's King Edward VII.

Born William Julian Dalton, he moved to Butte, Montana when he was very young and spent most of his childhood there. The stories of how exactly he got into female impersonation are varied. According to legend, his father caught his teenage son performing in women's clothing in a saloon, and then sent him back to Boston. There, he joined the Boston Cadets Review at the Tremont Theater, and form there he worked his way to Broadway.

First appearing simply under the name "Eltinge," he presented a version of female impersonation that was different from the bawdy caricature that was popular at the time. He was graceful, elegant and beautiful, and presented himself as an actual woman. To use modern drag parlance, he was the OG fish queen. At the end of his act, he would remove his wig and reveal his true gender.

In 1911, his musical comedy play The Fascinating Widow, in which he played both male and female roles, launched him into superstardom. In 1914, he made headlines for the tremendous amounts of luggage he carried with him across his European tour, each suitcase stuffed full of elegant and elaborate gowns.

In his personal life, he adopted a hyper-masculine, rugged persona. He frequently got in fist fights with anyone who accused him of being a homosexual. Although he made public displays of "long engagements" with women, he never married and was not known to have had any romantic relationships in his life. After his death, many people who had once worked with him, including comedian Milton Berle, identified him as gay.

Although he appeared in several films, his career faded as movies replaced Vaudeville and laws were put in place to ban drag shows. In spite of this, Eltinge continued performing as much as he could, even until his death, collapsing on stage at Billy Rose's Diamond Horseshoe in New York City.

[thewildwaffle]

Canon Ball

From a prompt on a03

*** *** ***

Marfi was surprised when the humans on his team took him up on his offer of spending the Glowsen holiday break with him and his family. He knew they didn’t celebrate Glowsen, but despite being an alien race from an entirely different solar system, they genuinely seemed interested in learning more about the festivities. That plus all off-world traffic basically stopped during the holiday to help maintain clear dark skies. There were a few vital spaceports that would remain open for emergency freight, but other than that, no ship was set to leave the squifra homeworld until after the fourth sunrise of Glowsen. Many on the crew who were not squifra planned to spend the downtime aboard the ship and simply roam about the metropolitan center they were docked at for entertainment during the day. A few in the crew who were aquatic or semi-aquatic had made plans to explore the nearby glowing marshlands to the north or spend some time basking in the warm, sprawling seas to the east.

Marfi had expected the three humans to be part of the first group. After all, no one looks at a human and immediately thinks, “Oh yeah, they definitely know how to swim.” He’d even seen Human Arnie jump back and shout loudly when Human Reyna accidentally spilled some water from an overly-full bucket she’d been carrying. He quickly left to change out of his partially wet uniform into a dry one. Or during a pick-up on Hemlet 3, Marfi also observed Human Avery using an “umbrella” to avoid getting wet in the rain. Several species aboard the ESS Tennago had varying levels of aversion to water. He just assumed humans did too.

He explained several times to them how squifra communities were commonly set up so that it was near impossible to not get wet several times through the day by just getting there or moving around. Roads were largely waterways. Running water and waterfalls were widely used as borders, doors, or other forms of separation or privacy. Many homes and shops had underwater entrances, although they were typically also accompanied by above-water entrances as well.

Still, the humans seemed unperturbed. Well, Arnie expressed a few reservations at first, but when the other two seemed determined to go, he said “it’d be worth it to be able to learn more about Glowsen with Marfi and his family.” And that’s how he ended up sitting next to three humans in what they referred to as “swimsuits” on the ferry. Ever so often, a new passenger would board and give them a quizzical look, but if the humans took notice, they didn’t seem to mind. They each sat with their overnight packs on their laps and took turns asking questions about the upcoming festivities or about various structures or landmarks they saw as the ferry went along. Marfi had to admit, it was probably the most fun he’d had on a ferry trip.

It didn’t take long before the familiar treeline of his hometown came into view. Many of the buildings used parts of the larger trees in their structure. Others wove between and among the roots and arches. The warm pink and yellow glow of the orrad blossoms that lit the otherwise murky swamp nearly made Marfi tear up. He always forgot how much he missed being home.

As soon as the ferry docked and was tied off, the group stood and stretched. Even though it’d been an interesting trip, it still involved quite a bit of sitting on a fairly cramped ferry. The crowds would make it be a while before they’d be able to disembark. Which of course wasn’t a problem for the squifra passengers who must have been traveling light and didn’t have to go claim baggage. They just jumped off the side and into the water, following a marked swim path into town. Human Reyna took notice. “Hey Marfi, do you ever jump over the edge like that?”

“Hmm? Oh, yeah, usually. I don’t typically have luggage when I come home to visit, so I just start swimming.” Human Avery looked over the edge of the ferry. “How deep is the water here?” “I’m not sure,” Marfi glanced down at the water. “I’d imagine it be at least four lengths to be able to accommodate the different ships that come in. I’ve never touched the bottom myself, so I imagine it’s plenty deep.” Human Arnie frowned at Avery and Reyna, then down at the water, then at Marfi. “What about if you’re traveling in a group and only some people jump? Is there a good spot to meet up with everyone again?”

“Yeah, people do that pretty often if not everyone has luggage to pick up. The spot to pick up your luggage is right along the water path,” he pointed out the area in question. Sure enough, there were several squifra already meeting up there. Those with luggage they didn’t want to get drenched loaded up in what almost looked like gondolas.

Marfi only caught a quick glance between Reyna and Avery before the former launched herself over the side of the ferry. While still in the air, Reyna tucked her legs in close to her body and shouted, “Canon ball!” before hitting the water with a rather large splash.

That was… not how Marfi expected things to go. The other passengers on the ferry, few of whom had actually been paying attention beforehand, were now looking confusedly around, trying to figure out what had just happened. “Canon ball?” “Someone get help, that alien fell into the water!” “Why would a cannon be in a ball?” “Did you see that human jump off like that?” “Can they even swim?” “Someone call security, someone’s got some sort of canon weapon!” “Oh flarg! Is that why the human jumped? Should we jump too?”

All the passengers seemed to be frozen in place on the ferry, those near the exit had paused to try to look back and see what was going on. Marfi himself was frozen in shock, staring at the rippling water below, trying to decide if he should jump in after to help his crewmate or go get help first.

Before he could decide, a human head popped back out of the water. She didn’t seem to be disturbed or struggling. On the contrary, she seemed to be quite at ease and happy, laughing and looking back up to the startled passengers still aboard the ferry. Marfi sighed and let go of the tension he’d been holding on to. Humans could swim. They’d said they could, but actually seeing it first-hand was a huge relief.

“Arnie, my bag’s not waterproof like hers” Avery nudged their bag towards him. “Do you mind bringing it with you?”

“Or are you going to join us?” Reyna joined in. “The water feels great!”

“No thanks,” Arnie shook his head and picked up Avery’s bag. “I’m fine staying dry up here for a little bit longer.” As Avery stepped up to jump over the edge, all the passengers watched intently, half unsure of what to think about what was going on in front of them.

“Do a flip!” Reyna yelled from below.

And that’s all it took. Avery launched off the ferry and tumbled through the air before landing with another large splash into the water. As soon as everyone saw the human’s head return to the surface again, the hush that had fallen over the ferry broke and everyone began moving toward the exit again. Most knew about the weird things humans did, and those who didn’t have at least heard about the antics the strange aliens got themselves into. It was surprising, sure, but must just be a thing humans did.

Marfi watched as his two crewmates started swimming toward the water path. They weren’t as graceful in the water as a squifra by any stretch of the imagination, but they did seem pretty adept. They weren’t going to drown, in any case. He then turned to look at the human standing next to him.

“You sure you don’t want to jump?”

Arnie’s expression was comically scrunched up as he shook his head. “I’m fine. I don’t do heights and I’ve got stuff in my bag I don’t want to get wet. Plus, I’d hate to make you carry everything yourself.”

“I… I appreciate that.” Marfi’s head fins fanned out in a smile. They slowly made their way to the exit with the rest of the crowd.

“What were you saying before we pulled in about the flower lights?” Arnie prompted as they walked.

Marfi smiled bigger and picked back up on his narration describing the different features of his hometown as they walked to the luggage pick-up area. He felt just a bit more at ease having his crewmates with him, knowing that despite what they looked like, they’d be safe in the waters of his home. This Glowsen was certainly going to be one to remember for a long time.

[romanceyourdemons]

a highly controversial film at the time of its release and still incredibly powerful and relevant today, native son (1951) not only carries on the strengths of the novel from which it was adapted but also brings in a number of new and highly effective elements. richard wright, author of the novel, had to fight to get the novel—which is about the racism faced by black men in chicago—adapted into a film with black actors and black characters. ultimately, he co-wrote and starred in the film, which was filmed in argentina and directed by french director pierre chenal, and the film holds close to the story and feel of the novel. it depicts a young black man who is so trapped not just by the system of racism that colors every element of his life in chicago but also by the racist cultural narratives that guide virtually every action taken by and around him that, against his will, he ends up committing the very crime that white society is champing at the bit to lynch him for. although the film is limited in its ability to provide the rich psychological profile of its protagonist that the novel does, it does introduce strong elements of film noir in the pacing and cinematography. the noir influences highlight and compound the sense of claustrophobia and pursuit so central to bigger thomas’s experience, while also drawing on the long tradition of the sympathetically morally bankrupt established through the many white anti-heroes of film noir. in addition to noir influences, the film includes several brief detours from the plot that show the audience elements of black community and culture, as vibrant and varied as bebop and church, that lie outside the narrative of seedy criminality that white media publicizes again and again. media in the film is always white, not just in terms of the obvious angles and biases of the newspapers and radio broadcasts, but also in terms of entertainment: the movie and tv screens within the film are windows into a world of clean, approved-of whiteness that the protagonists can never enter. the contrast between the film and the film-within-a-film is stark. not only did this film’s somewhat lurid plot cause uproar with white audiences and censors, but its frank depiction of racism in a number of forms, from explicit and violent to insidious and patronizing, as well as its condemnatory depiction of the police and justice system and its obvious sympathies with unions and communists earned this film a blanket ban in some states at the time of its release, despite a brutal hays code editing that excised nearly a third of its runtime. however, we are lucky that a full restoration is as of fairly recently available for watching. beautifully crafted, powerfully written, and as insightfully condemnatory today as it was at the time of its release, native son (1951) is an excellent and highly significant film, and i would highly recommend it

[caltropspress]

RAPS + CRAFTS #26: Nakama.

1. Introduce yourself. Past projects? Current projects?

Peace to all the cognitive conduits out there, I’m Nakama. (yes with the period). NY born and bred artist of varying media and sectors. Word to my loves near and far, visible and not. I’m always making things, sometimes purposeful, sometimes superfluous. I also make the beats for said things, like, 94% of the time. So unless otherwise stated, it’s me on everything.

Lots of past projects: (bodies of work under various pseudonyms, I used to go by the name ENxVE The Nameless Vagrant many moons ago, so there’s some remnants from that person on the internet somewhere, haha; two EPs, All Water and On Deck, with jazz/hip-hop septet Poetic Thrust; solo endeavors as Nakama. include Hohenheim’s Burden Pt. 1 - 9, human_error, [morning meditations], Free Up Space, etc.)

Did a collaborative album with the good homie Midi Neutron and many other amazing musicians, called ikeru, that dropped in March 2024. King Vision Ultra’s SHOOK WORLD still going dumb, peace to the PTP family.

Current solo project slate is the EVERYTHING BURNS! arc. Harkening to a collapsing dystopian playhouse for any enterprising soul who dares to be in entertainment at this moment in time. Really it’s a series of projects connected through an in-universe rapper eponymously named Nakama., and his relationship to a sentient AI he modeled to get rich off of ghost writing. (I’m big on lore, but I dare not say more.)

The arc started with KINDLING_ in August of 2023, and I just dropped the next installment of the series, EMBERGO_, this month [May, 2024]. Slide on that expeditiously, there’s more en route.

2. Where do you write? Do you have a routine time you write? Do you discipline yourself, or just let the words come when they will? Do you typically write on a daily basis?

I usually write at home, or in transit. But the world is so wild and synchronous that I could write anywhere, off the strength of observation and some pattern recognition. 

Definitely find myself writing in the laaaateeee night/early mornings. Somewhere between being so mentally cooked that the words are a babbling river, and being actually sufficiently rested enough to form coherent, complete sentences. Depends on the day. I do discipline myself to a certain extent, as far as putting hard expectations on what I want a particular cadence to do, or how I want to tackle a topic. So I’ll do mad premeditation if it’s serious for me like that. 

But recently (the past year or so), I’ve been really enjoying finding a phrase or a prompt that I can reverse engineer into a full thought. Or sometimes, me or someone else will be talking and say something wild that I have to flip into a verse. On KINDLING_, the opening line of "lights out" (The goons misinterpreted the meaning of the booster shot…), was one such instance. It started as a joke at the expense of folks who were not jacking being vaccinated for absurd reasons, and I just wrote that down with no context. Then it started to grow bit by bit and I saw a larger idea to tend to, off that one little quip. Those instances happen more fluidly, as I’m listening and conversing, so that’s like, letting the words come when they will.

I do try to write every day. Not raps necessarily, but informal thoughts that could turn into raps if I like them enough. And journaling for when I gotta get in my therapy bag.

3. What’s your medium—pen and paper, laptop, on your phone? Or do you compose a verse in your head and keep it there until it’s time to record?

I do all of them, though phone is preferred at this point. I need that ability to move phrases and lines around quickly to test them as I write, so I usually reserve pen and paper for when a song is finalized and recorded, and I want a hard-copy to refer to in the future. 

And I did have a phase where I was just dumping any and every thought into the Notes app on my computer, but that was too chaotic – I’d come back days after like, “What the actual fuck am I talking about?”

4. Do you write in bars, or is it more disorganized than that?

It depends on the instrumental I’m working with and the first few lines I think of. I’ll go into more contemporary beats super measured and metronomic, to the point where I can’t avoid writing in bars. But when I’m working on more sparse, open arrangements or weird time signatures, I’ll lean into purposeful disorganization. Playing with end rhyme expectations, running a line way past the 4 then snap-correcting with a punctuated phrase of just a few words, etc. Various techniques at play, it really just falls down to what the song needs by my estimation.

5. How long into writing a verse or a song do you know it’s not working out the way you had in mind? Do you trash the material forever, or do you keep the discarded material to be reworked later?

NEVER TRASH IT. The amount of times I’ve reworked songs and beat sketches from YEARS prior that ended up becoming really important pieces to the narrative later, is innumerable. Being in the act of writing is different though. If something is actually ass I will definitely step away after a solid 30 minutes. If I don’t have a reasonable foundation, a topic, and at least one bar that makes me go “oooh that’s hard!” after 30 minutes, I know I’m forcing it and need to re-strategize. But I won’t just toss it, 'cause something was calling me to those terms in the way I chose to express them. So I just resign myself to try something else or give it a rest and step away from writing for a bit to re-center.

6. Have you engaged with any other type of writing, whether presently or in the past? Fiction? Poetry? Playwriting? If so, how has that mode influenced your songwriting?

I’ve certainly dabbled. Poetry is sort of inexorable from the process, as I mentioned, based on how I start pieces. But I used to write a lot of “proper” poetry in my youth, as well as some experiments in short stories. Most recently, I wrote and directed a piece called PLACES! (I clearly love all caps and exclamation points, haha), which was a combination of live music, scripted acting, improvisation and dance choreography presented as anti-hierarchical theater. It began as a short form poem I wrote for the Indypendent in 2023, called by an imperative I spoke of/speak with friends about, which invites reading as an activity to become increasingly communal. Where something that is considered uniquely personal and private can then be an invitation to read with friends and play the parts out actively, there was a power I became aware of in facilitating the internal and external views of shared space, specifically in a place like New York. Also the flex is that every line delivered by the actors employed rhyme, to the point where the entire 12-minute piece could be interpreted as an extended poem. It was a one-time experience but I’m cooking up another iteration of the work, so that’s pretty exciting. And overall, these dips I’ve taken into other formats just remind me of showmanship and conveyance as tools for relating to your audience. I think the enunciation and delivery of someone who’s technically trained in acting opens a whole world of possibilities for a rap performance, the way we consider battle rappers and their expression being like jagged monologues. Or with poetry, remembering that urgency and truth are quintessential tools to jar the audience and subvert expectations. So many ways to piece together a creative philosophy by amalgamating all these techniques and modalities.

7. How much editing do you do after initially writing a verse/song? Do you labor over verses, working on them over a long period of time, or do you start and finish a piece in a quick burst?

This goes back to content and topical efficacy for me. I’ve always written pretty fast as far as getting an idea down and thinking about angles. But when the piece is either emotionally intensive for me, or coming from a place that requires research, I could be working and re-working the same ideas for months. I tend NOT to do that now, as I’ve gotten to a comfortable place mechanically, where if I can think of a rhyme scheme and the thesis of the piece, I’ll play it like a madlib. Write a line relevant to the topic, mumble through the cadence I wanna hit, think of interesting phrases I’ve never heard in a song before, jot those down, and keep repeating the cycle until the whole thing comes together. I take pride in not being one of those, “YO I WROTE THIS IN 4 MINUTES ON A BOX OF FRUITY PEBBLES!” guys, 'cause sometimes that does happen, but I also believe the word and its power supersedes the rate at which the word is produced. Infusing intention into the realest shit, to make it hit harder for who needs it. (Also no disrespect to Raekwon - haha, I just feel like every rapper right now tries to jack that inhuman writing time as a stamp on their report card. Which, when it actually took you four minutes to write…it probably shows.)

8. Do you write to a beat, or do you adjust and tweak lyrics to fit a beat?

Both! One thing I love considering is how I can butcher prepositional phrases to make a bar I really like fit in time, while still getting across the meaning. Which actually opens up a whole other avenue for wordplay and entendre. I think Valee is one cat that does that really well, saying these seemingly disparate, borderline abstract things, then connecting them through extremely legible situations that continue the “story” of the song.

9. What dictates the direction of your lyrics? Are you led by an idea or topic you have in mind beforehand? Is it stream-of-consciousness? Is what you come up with determined by the constraint of the rhymes?

Again, all of it. I do squarely start from a topic most often, followed by fleshing out the structure with stream-of-consciousness and real time editing.

The rhyme constraint thing is funny, cause how many great emcees can we think of who do the same three rhyme schemes their whole career? Or alternatively, how many do we know for consistently changing their style up in iterations? The constraint really becomes a style thing after you’ve been making music for a while. You know what sounds good coming from your voice, what might not land based on your speech patterns, which ways to bend pronunciation, all that. So I think of that as a byproduct of saying what you gotta say, less as a limitation to abide by when creating.

10. Do you like to experiment with different forms and rhyme schemes, or do you keep your bars free and flexible?

Always experimenting. I never wanna write the same thing twice (from an intent perspective), so thinking of unique ways of pointing to worldly truths is a great exercise for staying sharp. Free and flexible bars can (and do) appear in my discography, but the goal is to keep everyone on their toes, including me.

11. What’s a verse you’re particularly proud of, one where you met the vision for what you desire to do with your lyrics?

So this one is a deep cut, but the verse on "garden." from Hohenheim’s Burden Pt. 3. The topic was actually the last line of the verse, “There’s no discernible principle, you pick and you choose.” But the way I approached it, and why I’m proud of it, is cause of a few moments where that idea of picking and choosing, in life, becomes the soil for one’s proverbial garden. Two sections come to mind that make me happy. The first is: “Flight or fight response unconsidered, the cicadas scream while the cadence quiver, / Qualified not by the impatiens hanging off the window sill but by the impatience incubated through the growth in self.” It’s just embodying the naturally dualistic but coexisting sensory experiences of the garden. A quiet, wavering voice somewhere in the distance slipping through the hiss of the cicadas (noise of the outside world). The impatiens as indicative of growth versus the impatience as indicative of how frustrating it can be watching yourself grow. The fight or flight being our usual binary for handling conflict, and affirming that in the garden no one is thinking of that, because nothing will grow through either of those modes alone. The second section I love is: “Toes exposed to the oscillations of LFOs, / Dropback turns higher than the sun go and gunsmoke reach, / You can’t kill me if I’m infinite, that’s what the drumroll teach.” That one hits crazy cause, for all my anime fans out there, I’m referring to Eureka 7 a few times (Dropback turns; Higher Than The Sun; LFOs, in the show meaning Light Finding Operation). But situating it in this context of the garden, when you watch the show and see the motifs of what building a home in a violent world means, or learning to nurture yourself and others, the references take on a whole other meaning. Also, “You can’t kill me if I’m infinite, that’s what the drumroll teach” is just hard.

12. Can you pick a favorite bar of yours and describe the genesis of it?

One that always goes under the radar but I think is mad fun is off of "menacing." on Hohenheim’s Burden Pt. 7: “Like two boroughs claim to the genesis, / Same Queen’s broken English, the bridge was over heads like bats in the belfry.”

It’s an extended acknowledgment of the BDP vs Juice Crew beef around the origins of hip-hop culture regionally, but also referring to the Queen’s broken English as what many Afro-Caribbean kids heard about the way they speak in school/formal spaces. Unified in this art that was still being actively derided for anti-intellectualism. So that reflects the outward perception, which often overshadows the nuance and politics of the communities actually involved in the thing, hence, “the bridge was over heads like bats in the belfry.” The means by which people travel and connect to us have tended to be from this top-down view, very removed and out of the light of what’s really happening with this art.

It goes by pretty quick but it’s so loaded as a bar, I always like breaking that one down to people.

13. Do you feel strongly one way or another about punch-ins? Will you whittle a bar down in order to account for breath control, or are you comfortable punching-in so you don’t have to sacrifice any words?

I actually hate punch-ins 'cause I can’t punch-in during a live set, and my view is if I can’t do it live with my singular voice, it shouldn’t be like that on record either. But I recently recorded an album’s worth of material doing EXCLUSIVELY punch-ins, for every bar on every song. I wanted to break away from that stigma I set around it, and it’s actually really fun to play with creatively. However, that album is never coming out and I’m still doing every verse straight through. But it was a fun experiment!

14. What non-hiphop material do you turn to for inspiration? What non-music has influenced your work recently?

So many things. Anime, video games, books, other music genres, conversations with friends, literally any and all stimuli are viable for inspiration in my creative universe. I probably look like a crazy person, for real. I’m like reading Jung’s writings on Archetypal psychology and watching two-hour breakdowns of the meta-narrative of Metal Gear Solid 2. Musically I just went back to The Mars Volta after having not listened to them for years, so that’s been fun and informing some textural things I’d like to try my hand at in the future. Also on a huge Metalheadz revisit too. I wanna do a song with Cleveland Watkiss, bro - that would be so fire. And just for vibes, been bumping a lot of Kaidi Tatham, Kerri Chandler, KUMO 99, mad other stuff. I’m literally open to anything if it’s grounded in a defined creative philosophy.

15. Writers are often saddled with self-doubt. Do you struggle to like your own shit, or does it all sound dope to you?

I don’t struggle really 'cause I’m acutely aware that nothing is gonna be as exciting as that new thing sitting on your computer that three people have heard. So when my work goes out into the world, I rest knowing I did my best and the next thing will be even better. And the emotional connection to the work brings out an appreciation that few would ever really understand outside of like, my closest friends and loved ones and me, so that’s a dimension where I don’t even care to critique the work, cause I know exactly where in my heart it came from, and when, and why.

16. Who’s a rapper you listen to with such a distinguishable style that you need to resist the urge to imitate them?

That’s actually a hard-ass question; I think there’s an aspect of time spent with an artist that contributes to my internalizing of their techniques. So like, I spent a lot of time analyzing DOOM’s style (long live the GOAT), and I overtly attempted things I heard on his records. Then as I acclimated more to his style, I veered away from emulating it because I learned the mechanics behind what he was doing. Instead of making 1:1 recreations of his schemes, I employed the tools behind them in my own way. So with expectation, and subverting the end rhyme, I picked that up from "Great Day" off Madvillainy: “Last wish, I wish I had two more wishes, / And I wish they fixed the door to the Matrix, it’s mad glitches / Spit so many verses sometime my jaw twitches / One thing this party could use is more [beat - clears throat] booze.” Such an expert move in creating a moment that, either when recited to oneself, with friends, or performed in front of a crowd, there’s this inside joke and “Aha! Gotcha!” that’s always palpable. I live for that shit, where the audience can be in on the process of the writing almost, if not in, real time. So I guess my answer is DOOM, because I spent so much time trying to figure it out, that once I did, I made myself use the toolkit and not the products.

17. Do you have an agenda as an artist? Are there overarching concerns you want to communicate to the listener?

My agenda is: do right by your people and connect worlds. That’s what the whole cognitive conduit thing is about, for real. We all occupy space and experiences that could theoretically never overlap if we didn’t actively seek and nurture the connection we have to other people and places. So when your cognition of the external becomes a conduit point, for energy to travel through and relay information/feelings/experiences to another person, or people, you persist in forming those bridges to greater understanding of the external and your own place in it. As someone who has dealt with a lot of grief, and loss, and isolation, I resolved to make more meaningful connections in my life. And over the years, in embodying that, I’ve seen myself grow a lot, and seen other people be affected by my growth in positive ways. That cascade of experience into the lives of those you hold space with is beautiful, and scary, and global. So I put that bridge-building ethos at the forefront of my work because I’ve seen what community oriented work does for everyone. And it’s incredible. Other than that, it’s free the Global South (not underdeveloped, under-respected) and fuck 12 🏁.

RAPS + CRAFTS is a series of questions posed to rappers about their craft and process. It is designed to give respect and credit to their engagement with the art of songwriting. The format is inspired, in part, by Rob McLennan’s 12 or 20 interview series.

Photo credit: Nakama.

[sonamy-and-bbrae-lover]

Fanfic Writers Deserve Better…

Hey guys so lately things in Fandom Communities specifically, F.F. Communities, have been going on and I don’t want to get into it because I’ll end up ranting but it’s something that needs to be said. Idk how or why, but recently when doing my personal narrative for English I realized that plot structure is basically insignificant. This may vary for some of you based upon how you write, but for me it’s completely complicated and it just messes with my flow. It always annoys me when I read and even more so when I write, which caused me to develop a hatred for it. I lied just now about reading… books that is. As I said, I don’t read books and me being here giving you full access to my posts, likes and dislikes, even to those who I follow proves that I don’t read books. You may have access to my likes and the people who I follow but I can’t tell you how much it pisses me off when someone cannot tell the difference between an book and a work, just like an author and a writer. Sure they may seem like same thing, but there’s a difference, and I mean a BIG difference when comparing the two. To make things clear, I’m comparing real world writing to F.F. Writing!

Authors get their support and product and sometimes funding through their readers. Readers buy, keyword here is buy, the author’s book. You see they make money off of their writings; we don’t and when we do it’s more difficult since the amount of money we get is very little. F.F. Writers you may or may not what I’m talking about and that’s ok. I’m mostly a reader, I haven’t written anything for fun in over 3 years; and if I had written anything, it was an apology for not writing other than that everything I’ve written was for school. (most likely 95% was made up if was personal narrative.🤣)

If anything I rewrote this post about 10 times just trying to remember grammar structures, spelling, and etc but I just remembered while writing this F.F. Writers don’t give a rats fuck about dialogue, grammatical, plot, and you name it structure

We write because we want to write and provide our readers an ending or a source of entertainment that we know that we’re not going to get from the original creators themselves

Sadly not everyone sees it our way a few months back Ao3 was victim of a DDoS terror attack by Anonymous Sudan and they’re reasoning really pissed me off I’m not apart of LGBTQ+ as well as NSFW community But shutting down a site because it apparently filled with FF that go “against all forms of degeneracy” and “disgusting smuts” well then…

🖕FUCK YOU🖕 too motherfuckers!!!

People should have the right to be who they want to be AND who the hell they want to ship 🤬🖕

And if the rumor of them holding a ransom is true ISTFMG!!!

Anyways, readers who do read FF please keep in mind that us FF writers have our own lives with personal issues, and we don’t want to feel like we should continue writing because it’s necessary for you to have your entertainment and continue to bother us.

So please keep in mind that we are people, not machines, although sometimes I do about that though.

If we ask for a break then respect it.

If we have inboxes full of requests we may or may not ask or your to STOP sending requests for a one-shot or prompt if we do THEN COMPLY AND STOP SENDING THEM

Please respect our writing we didn’t have to do it but we did for your entertainment granted it may not be the best, it maybe absolutely horrendous, or It was average but don’t disrespect our writing we did it for fun

YOU DO NOT HAVE THE RIGHT TO TELL WRITERS WHAT THEY SHOULD DO FOR THEYRE WORKS UNLESS YOU REQUESTED A ONE-SHOT/PROMPT

Look I’m not here to tell you guys how you should read and what not but just recently one of favorite writers was on the verge of quitting because of the pressure of wanting to keep you guys happy with prompts but there was to many and they just keep coming even though she has her inbox on shut down and

[dragoon-mid-jump]

I have a new epiphany regarding the extent of how Y'dehlya feels about Zenos by the very end of EW.

The TL;DR of it is that Y'dehlya is much more fixated in upending the system that created Zenos much more than Zenos himself and only agrees to fight him in the wake of defeating the Endsinger because she believes that if she doesn't, his soul will come back like this.

Full musings under cut:

Yes, he's the crown prince of the empire she swore to dismantle for what it's done to her family, her friends and comrades, and a vast majority of the world she knows. Hell, she even swore to Varis himself at Ghimlyt Dark that she would see his Empire crumble. But Zenos literally did not give a rat's ass about his own homeland in any way, shape, or form. Technically, she did see the Empire dismantled by way of being the reason Zenos stopped the Black Rose Project by killing Varis while she was in the First dealing with the Flood of Light and trying to get all the Scions home, but in a twisted personal single-minded fascination way. And his refusal to take the throne created a power vacuum and civil war that ravaged the country and its people. Kinda like cutting a hydra's head and two more sprouting from the stump. Y'dehlya thinks of this as a cruel form of Equivalent Exchange.

If it weren't for her experiences traveling back to Unsundered Times and diving into the aetherial sea via the Aitiascope; learning about the concept of a soul having memories imprinted into them, and encountering souls that have yet to move on and the weights they carried with them into the afterlife; how her strong drive towards everything she's done so far has been in part a result of the imprint the Final Days situation and then some left on Persephone's soul, she would've continued to refuse to entertain Zenos at the edge of the universe.

What shocks her the most is when he said he will accept it if she does walk away from him after everything. Part of her wants to. Part of her really wants to; to deny him still as his "consequence" for his grievous disrespect of her. But seeing how much became imprinted on Hermes' soul even after he reincarnated after his sundering, and how Zenos came all that way to help her fight the Endsinger moved her to finally give Zenos what he had long been craving; to set his soul at peace, without lingering regrets, in hopes that his next life will be much more fulfilling.

She is very clear with him that this is no ordinary battle; she is not forgiving him for anything he's done. This is a ritual. She will kill him if that battle is what it takes to prevent him/his soul from returning as he is in some way, shape or form. What she doesn't outright tell him is that some part of her pities him. Not until the very end, anyway, when he admits he does regret that this is the only thing that makes him feel satisfied. Until then, she doesn't want to hear what he has to say; his projections of the Y'dehlya Rhikta in his head.

Now Y'dehlya herself enjoys pursuing her own self-indulgent pleasures, too, when moments allow: A nice hot bath after a long day of adventuring, long walks on the beach, decadent sweets, sex, fine wine and spirits, shopping, fine dining and new culinary experiences, etc. She can find joy and pleasure in so many things. But then, he's the crown prince of the most powerful and coldest empire in recent history on top of being a supergenius. He was a Lonely Rich Kid taken to extremes. No wonder the only thing he finds pleasure in is from battling to the death after his sword tutor tried to assassinate him. So when she says these final words to him as he dies, she means it in earnest:

"May you know peace, Zenos Galvus. May your next life be more fulfilling than this."

No middle name title. In omitting that while addressing him, she frees him from what he had been labeled as: "Member of the royal family in the line of succession" and "outcast".

She did this with Fandaniel/Amon despite it all. Why not extend it to him, too?

[martinbackhausen]

The Universal Language of Music: Understanding Its Full Meaning and Impact

Music is an art form that has been a part of human culture for thousands of years. It evokes emotions, connects people across borders and languages, and transcends time and space. But what is the full meaning of music? Is it a form of entertainment, or does it hold a deeper significance in our lives?

At its core, music is a form of communication that employs sound and rhythm to convey messages and emotions. It can take many forms, from classical orchestral compositions to modern-day electronic beats, but all music shares a common purpose: to express something meaningful.

One of the most significant aspects of music is its ability to unite people across borders and cultures. Regardless of language or background, people can connect through the universal language of music. Music has played a crucial role in many historical events, from civil rights protests in the United States to the fall of the Berlin Wall in Germany. Music was a powerful symbol of unity and resistance against oppression in these cases.

Music can also evoke strong emotions in listeners, whether joy, sadness, anger, or nostalgia. This is because music activates the same parts of the brain that are involved in processing emotions. Listening to music can be a cathartic experience that helps us process and cope with our feelings.

Moreover, music has therapeutic properties recognized by medical professionals for centuries. Music therapy is often used to help patients manage pain, reduce stress and anxiety, and improve their overall well-being. This is because music can stimulate the release of endorphins, natural painkillers, and lower cortisol levels, a hormone associated with stress.

However, music is not just a tool for personal growth and development. It also has cultural significance that varies across different societies and time periods. In some cultures, music is a part of religious or spiritual ceremonies; in others, it is a means of storytelling or transmitting historical knowledge. In many African cultures, for instance, music is used to celebrate life events such as births, marriages, and funerals.

Beyond its emotional and therapeutic benefits, music also profoundly impacts cognitive function. Studies have shown that playing a musical instrument can enhance memory, improve spatial reasoning skills, and boost creativity. Moreover, playing music in a group setting can promote teamwork and social skills.

In Western culture, music has traditionally been associated with artistry and creativity. From Beethoven to the Beatles, musicians have used music to express complex emotions and ideas, often drawing inspiration from literature, philosophy, and other art forms. At the same time, popular music has emerged as a dominant force in mainstream culture, providing a platform for artists to express their own stories and perspectives on the world.

In conclusion, the meaning of music is multifaceted and complex. It is a universal language that transcends borders and cultures, provides emotional and therapeutic benefits, and is a means of personal and cultural expression. Music will always hold a significant place in our lives, whether listening to music as a means of escape, learning to play an instrument as a form of cognitive development, or using it to foster social change. It is an art form that connects us to something greater than ourselves, so its full meaning and impact will continue to be explored and celebrated for centuries to come.

[ivyarts1]

BLOG #1

Philippines' Own Jeepney; An Art Beyond Western Definitions

Roaming around the busy roads of the city, reigning supreme with its massive roaring engines and various eye-catching composition, what comes across is the Philippine Jeepney or what was once called, “The Undisputed King of the Road”. Jeepneys, which originated in our home country, symbolize Filipinos’ natural creativity and ingenuity when it comes to integration in forming realistic structures, obtained from the prolific visionaries of our imagination.

Just like a typical vehicle, it is also comprised of machinery essential for long drives; But what makes it stand out from the others is its head-turning feature of being a colorful art-on-wheels vehicle. Jeepney art integrates the "art of the color” and the "art of the accessory", applied to a simple galvanized metal or polished, gleaming metal canvas shell. The use of airbrush spray, stickers, spray paint, or even on-hand paint brush is utilized to create different styles and outlines of art. When it comes to its accessories, the majority of it are hand-picked by the owners, and depending on their personal desires, they would choose to locate where it would be placed. As you have noticed, there are jeepneys with flags at the front, winged-shape stainless metal shell, mini statues at the tip of its front, colorful lights, and many other accessories that are possible to be incorporated. Moreover, the theme of the overall look of a particular jeepney also varies depending on the owner’s choice of preferences. It could be a theme related to their families, religious beliefs, entertainment, culture, minimalism, or even a very creative incorporation of colors and designs to make it look more lively and attractive to the public. Jeepneys are all designed differently, thus, it really showcases the vast creativity of Filipinos when it comes to art making.

Aside from its physical structure and features, its representational value coming from our own Filipino culture and tradition is also being reflected. Just like in the portrayal of the “bahay-kubo”, jeepneys are also built without seat divisions for people to come in and openly interact with each other. Filipinos’ trait of openly getting along with others or in tagalog, “pakikisama”, is highly observed especially when it comes to the passing of each and every individual fare to jeepney drivers. Its main purpose of traveling from point to point in order to help people arrive at their respective destinations also emphasizes the natural helpful trait of Filipinos, and can be comparable to the act of “bayanihan”. In addition, the overall physical appearance of jeepneys, which can be generalized as lively, colorful, and eye-catching, extensively shows Filipinos’ sense of being “full of life”. Its appearance makes the city a livelier place to live in, which deeply reflects Filipinos’ deep affection for our own energetic and spirited culture.

A Jeepney is indeed an art defined beyond Western. An art that showcased the vast creativity and innovativeness of Filipinos. A work of art that is defined by our true ingenuity, inspired by the Philippines’ own culture, beliefs, and tradition. From its aesthetical value, and artistic presentation, down to its symbolism and representational value, it is built admirably, especially with the incorporation of what our country really reflects. For more than 70 years of the country’s struggles, adversity, changes, and advancements, this cultural symbol has always been on our main roads serving its purpose of helping the masses and giving life to the city. It certainly proves its title of being the one and only undisputed “King of the Road”.

The perception of art’s definition constantly changes through time. There will always be no definite answer to art’s true definition, thus, it will just continuously evolve as the world advance. In the case of its context in the Philippines and in the 21st century, there is still an ongoing discourse and why’s that is due to the fact that Filipinos have a sense of being essentially intact to the worldview, beliefs, and values of art. We don’t just adapt to the set of standards made by Westerners. Because of our natural creativity and innovativeness, different forms of art are being evolved through time, now what is known as the Philippine contemporary arts, which is even beyond the West’s definition.

Now how we can contribute to the ongoing discourse of art’s context is to give emphasis on these creativities, follow its growth, spread it, and expand it. It is also important to have a multi-view approach to the art itself, especially to its underlying message and portrayals. It will also mean a great help if people of the modern era engage with expounding such creativities, as well as practice participating in art makings. And finally, we should learn to give importance to artists’ creative process as this can bring inspiration to aspiring ones that will most likely continue the ongoing act of defining and evolving art.

[trooperwrites]

Reviews of consumed media

Iron Prince

Quality: 7/10

Enjoyment: 8/10

Genre: Progression Fantasy

Link

Synopsis

Iron Prince is about a sickly child named Reidon Ward who was abandoned by parents and left to be raised by the government. With his childhood friend Vivada Arada, he completes the test to be assigned a "CAD", the tool created by the government to fight the alien threat of the Archons. Will Reidon become the strongest or will be fall to the many enemies he has.

Review

Iron Prince is a great novel with some questionable subtext. Let's first talk about the strengths of the novel, I thought the main cast of characters and the supporting characters were all incredibly strong. They all had interesting personalities and I was interested to learn more about their pasts. I felt as if their arcs within the story were all competently done and were engaging. Though I would have preferred for some of the side characters to be developed a bit more, one of the primary group wasn't really introduced as a character until later into the book and I think it would've been much more engaging if more was known about her. I thought that the weakest part of the book was the pacing, it felt as if it was the first act within a much longer series and while it's receiving a sequel I thought that the pacing made the book significantly weaker as a whole. I thought some of the political subtext was a bit fascistic. Most notable, the main governing body is a military body that runs it's own entertainment that has pervasive media control that it uses to fuel recruitment and is largely unaccountable to the civilian government is questionable to say the least. Now not, the existence of a bad system is not necessarily an indication of support, but when the book does nothing to question the system and subtly praises the ability of the military to be not influenced by politics makes the subtext support some questionable political takes. Lastly, I felt that the pacing harmed the thematic development given that fact that Reidon and many of the characters haven't really completed a full character arc. Overall it was an enjoyable read for its flaws.

Legend of the Northern Blade

Quality: 7/10

Enjoyment: 8/10

Genre: Shonen

Link

Synopsis

The world was once plunged into chao by a demonic sect named Silent Night and to fight it martial artist from all over the world formed the Northern Heavenly Sect. Through their struggle and strength, they pushed Silent Night away and restored the order of the world. However, fearful of the power of the sect, the mainland government had the generals of the 4th Leader of the Northern Heavenly Sect to betray him. What will be the path that the Leader's son pursues and how does this have anything to do with a strange girl and a strange tatoo?

Review

I really love the art style of this Manhwa. Most Manhwas have a style that could be described as clean, characters generally lack any physical defects, and characters all have the same atheletic body type. This could be described as the Genshin Impact school of character design; characters that are meant to be as appealing as possible. This Manhwa goes the opposite, (though the women characters are still less varied than the men) with the characters being incredibly varied. The characters having varied and interesting design. I really love how the art style meshes with the setting making it feel as if I'm hearing about an old tale from times long ago. The story and themes are currently a bit questionably developed with the story treating lives as extremely disposable. I also thought one of the character death's was in vain and that the character living would've been better for the story. I think the story offers a pretty compelling mystery about the world and its engaging enough. Overall, the art carries the story but it was a compelling mystery none the less.

[5banus]

The Online Sex Model Industry: A Deep Dive into Digital Adult Entertainment

The rise of the internet has revolutionized numerous industries, with one of the most significant shifts seen in the adult entertainment sector. Online sex models, also known as cam models or adult performers, represent a rapidly growing subset of this industry. These individuals perform live on digital platforms, providing entertainment to audiences worldwide, often in exchange for tips, subscriptions, or private shows. This article explores the world of online sex models, the platforms they use, the dynamics of the profession, and the challenges and rewards that come with this career path.

Understanding the Role of an Online Sex Model

An Online sex models is a performer who engages with viewers via live-streaming platforms, offering a variety of content that ranges from erotic performances to casual conversations. These models operate independently or through camming websites that facilitate the live interaction. Unlike traditional pornography, online sex models allow viewers to engage in real-time, creating a sense of intimacy and personal connection.

The content provided by online sex models can vary greatly. Some may choose to perform explicit adult content, while others focus on non-sexual interactions, like chatting or playing games with their audience. The flexibility and wide range of potential interactions allow models to tailor their work based on personal comfort levels and preferences.

How Online Sex Models Earn Money

There are several ways for online sex models to generate income through their performances:

Tipping: Many platforms allow viewers to tip performers during live shows. These tips can be earned for specific requests, performance milestones, or simply as a token of appreciation from the audience.

Private Shows: Viewers may pay for one-on-one time with a model, where they can request personalized content or have more direct interaction with the performer.

Subscription Fees: Platforms like OnlyFans allow models to charge a monthly subscription fee for exclusive content, offering a more predictable income stream.

Selling Content: Models can sell pre-recorded videos, photos, or other forms of digital content to their audience. This passive income allows them to continue earning even when not live.

Affiliate and Referral Programs: Some platforms offer bonuses or a percentage of earnings when a model refers other performers or viewers to the site.

Benefits of Being an Online Sex Model

For many, the appeal of becoming an online sex model lies in the flexibility and autonomy the career offers. Some of the primary benefits include:

Control Over Content and Schedule: Online sex models have full control over the type of content they create and the hours they work. This autonomy allows for greater personal freedom and the ability to manage work-life balance.

High Earning Potential: While income varies, top-performing models can earn substantial amounts through tips, subscriptions, and private shows. Some models report making six-figure incomes annually.

Global Audience: The internet provides access to a global audience, allowing models to attract viewers from different cultures and backgrounds, increasing their potential for income.

Community and Connection: Many models develop loyal fanbases and foster a sense of community with their viewers, leading to repeat customers and long-term financial support.

Privacy and Anonymity: Although being in front of a camera may seem like an invasion of privacy, many models work under pseudonyms and take steps to protect their personal information. This allows them to maintain a level of anonymity if desired.

Challenges of the Industry

Despite the benefits, online sex modeling is not without its challenges. Models face several obstacles, including:

Privacy Risks: Even with precautions, online sex models face risks related to privacy and security. Content can be recorded without consent and distributed across the internet, which can be difficult to control.

Income Fluctuations: As with any freelance or self-employed job, income can be unpredictable. Some days may bring in large sums of money, while other days may yield little to no earnings.

Social Stigma: Although online sex work is a legitimate profession, it still faces societal stigma. Models may encounter judgment from family, friends, or the public, which can affect their mental and emotional well-being.

Emotional Labor: Online sex modeling requires significant emotional labor. Models often engage in intimate or personal conversations with viewers, which can be exhausting or overwhelming over time.

Platform Fees: Many camming platforms take a percentage of the model’s earnings, which can range from 20% to 50%. This can eat into a model’s overall income, making it essential to find platforms with favorable payout structures.

Tips for Success in Online Sex Modeling

For those looking to succeed as an online sex model, here are some tips to maximize earning potential and audience engagement:

Consistency: Building a loyal fanbase requires consistent streaming schedules. Regularly appearing online helps build familiarity and trust with viewers.

Engagement: Interacting with viewers is crucial for building relationships and earning tips. Models who engage with their audience in a genuine and personal way are more likely to receive ongoing support.

Self-Promotion: Models should promote their streams and content on social media platforms, create exclusive content, and market themselves to attract a wider audience.

Invest in Equipment: High-quality cameras, lighting, and audio equipment can make a significant difference in the quality of the stream, resulting in a more professional appearance and higher viewer retention.

Take Care of Mental Health: Given the emotional demands of the job, it’s essential for models to prioritize their mental health, set boundaries, and take breaks when needed.

Conclusion

The online sex modeling industry offers a unique and flexible career path for individuals seeking autonomy, high earning potential, and the ability to connect with a global audience. However, it also comes with challenges such as privacy concerns, social stigma, and emotional labor. By understanding the dynamics of the industry and employing strategies for success, online sex models can thrive in this competitive and rapidly evolving digital landscape.

For more details, visit us:

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[snowmuttgetsweird]

6/19/24, early-ish afternoon

I've been processing some feelings about art.

In a fit of frustration over social media with Twitter constantly teetering on the verge of death, and a rash of new sites popping up all the time that I feel pressured to reserve my handle for and then never touch again when it turns out they're all garbage anyway, I told myself "fuck it, I'm just gonna make a VCL."

Well, turns out VCL itself has been long dead now, but there's still at least one archive out there that still hosts a lot, if not all, of what was on VCL before it went away, and I've been perusing its content for a few days when I've got "free" time.

It made me very nostalgic. There was a sense of discovery, maybe REdiscovery, finding a massive collection of people like me, of varying levels of artistic ability, creating characters and worlds and stories all for the sake of creation. It was cool seeing how many people leaned really heavily into an 80's/90's anime aesthetic, the odd painter, the Western cartoonists, the BlackTeagan wannabes, the Kenket-likes, the Goldenwolf imitators, the absolute deluge of Furcadia portraits, edgy teens with black and green outfits and spiky hair, etc. Such a huge variety of people still kinda tinkering with what they could do within the creative space of the furry fandom, either just discovering a semblance of style or aping styles from the artists that inspired them... It was kinda inspiring. It helped rekindle that sense I remember having early on like "I think I wanna be a part of that."

I guess furry art just didn't feel as produced back then. Like, it didn't feel as much like it was engineered to be impressive or marketable, it was just bohemian, therapeutic, and a form of exploration and expression.

I think that's the part that feels dead in the fandom- especially with the economy being what it is, cost of living, etc.

I've heard it said before that "culture" is something that begins to develop once the basic needs of a society's population are sufficiently provided for- housing, food, healthcare, etc. That said, culture is the result of a stable economy.

Instead, nowadays, culture IS the economy. Much like the way we breed and force feed livestock to feed our bloated population, the industry is pressured to bloat and bloat and bloat to feed the ever-growing demand for NEW content, MORE content, MORE entertainment, MORE enrichment, and as the quantity rises, the quality falls, and innovation stagnates.

I dunno. I'm probably spouting nonsense, but it just feels that way. It feels like we're starving, and eating rocks to make the bad hungry feeling go away instead of food.

Anyway, the point I was trying to get at was I think I just miss WANTING to draw.

Like, I think when I was young, I liked Pokemon, so I drew Pokemon. I liked Mortal Kombat ninjas, so I drew Mortal Kombat ninjas.

When I got older, I started questioning my identity and sexuality, as most do eventually, and I explored it through art, and bonded with other people that did the same.

Now I'm not usually drawing because I want to EXPRESS or EXPLORE something- I'm drawing because if I don't do enough drawings to compete for new clients' attention, I'm going to lose everything. My apartment, my best friend, my independence, my pride, my hope- everything. So I draw.

I draw whether I want to or not. I'm not drawing to express anything, I'm not drawing fan art of cool things my friends have done, I'm not drawing gifts for my friends or other artists I admire, I'm not studying anyone's style and trying to incorporate the pieces I like into my own, or really even developing my own style. Instead I'm just drawing what I'm told with explicit attention to trying to make it as marketable to THAT client and other potential clients as I can as long as the money keeps flowing and I can pay my bills, and that's all I'm good for right now. Even if I'm given full freedom of expression, I'm still not doing it because I WANT to necessarily, I'm doing it because I need to do it to survive. This isn't an activity I choose to partake in because I'm thriving and I have some time to burn, it's just the only job besides retail that I'm actually somewhat qualified to perform.

It just feels bad sometimes.

[usban3206]

Best Lap Dancer Jobs: Finding the Perfect Venue for Your Talent

Lap dancing, a form of exotic dance, offers performers the opportunity to earn a significant income while showcasing their dance skills and engaging with an audience. For those looking to pursue a career in this field, finding the Best Lap Dancer Jobs can make a significant difference in terms of earnings, work environment, and career growth. Here’s a guide to identifying and securing the best lap dancer jobs.

Understanding Lap Dancing

Lap dancing involves a performer dancing provocatively in close proximity to a seated client, often involving brief physical contact. This type of performance is typically found in gentlemen's clubs, strip clubs, and private events. Successful lap dancers combine physical fitness, rhythm, confidence, and excellent interpersonal skills to engage and entertain their audience.

Key Factors in Finding the Best Lap Dancer Jobs

1. Reputation of the Venue: Working at a reputable club can have a major impact on your career. Renowned establishments not only attract high-paying clients but also offer a safe and professional work environment. Research online reviews, ask for recommendations from fellow dancers, and visit clubs in person to assess their reputation.

2. Earnings Potential: Earnings can vary widely depending on the venue, location, and clientele. Top clubs in major cities often offer higher earning potential due to a steady flow of affluent clients. Look for venues that offer a good base pay along with opportunities for tips, private dances, and VIP services.

3. Work Environment: A supportive and respectful work environment is crucial for any lap dancer. Consider clubs that prioritize dancer safety, provide proper security, and maintain a professional atmosphere. A positive work environment enhances job satisfaction and performance.

4. Flexibility and Scheduling: Many lap dancers appreciate the flexibility of their work schedules. The best venues offer flexible shifts that can accommodate other commitments. Look for clubs that provide options for full-time, part-time, and freelance work, allowing you to balance your career with personal life.

5. Opportunities for Growth: Some venues offer additional opportunities such as stage performances, feature dancing, and appearances at special events. These opportunities can help you build your brand, increase your earnings, and expand your career prospects within the entertainment industry.

Top Cities for Lap Dancer Jobs

1. Las Vegas, Nevada: Known as the entertainment capital of the world, Las Vegas offers numerous high-end gentlemen's clubs that attract wealthy tourists and high rollers. Clubs like Spearmint Rhino and Sapphire are famous for their lucrative lap dancing opportunities.

2. Miami, Florida: Miami’s vibrant nightlife and affluent clientele make it a prime location for lap dancers. Clubs like E11EVEN and Tootsie’s Cabaret are renowned for their high earnings potential and celebrity clientele.

3. New York City, New York: With its diverse and bustling nightlife, New York City offers a variety of clubs where lap dancers can thrive. Venues like Scores and Hustler Club provide excellent earning opportunities and exposure.

4. Los Angeles, California: Los Angeles, with its mix of celebrities and high-income residents, is home to several top-tier clubs. The city offers great opportunities for dancers looking to work in an exciting and lucrative environment.

Tips for Securing the Best Lap Dancer Jobs

1. Build a Strong Portfolio: Create a professional portfolio that highlights your experience, skills, and any special talents. Include high-quality photos and videos that showcase your dancing abilities.

2. Network with Industry Professionals: Networking is key in the entertainment industry. Attend industry events, join online forums, and connect with other dancers and club managers to learn about job openings and gain referrals.

3. Audition and Trial Shifts: Many clubs require auditions or trial shifts to assess your fit for the venue. Prepare well for these auditions by practicing your routines and presenting yourself confidently.

4. Stay Fit and Healthy: Physical fitness is essential for lap dancers. Maintain a healthy lifestyle through regular exercise and a balanced diet to ensure you can perform at your best.

5. Develop Strong Interpersonal Skills: Building a rapport with clients is crucial for success in lap dancing. Work on your communication and interpersonal skills to engage and entertain your audience effectively.

In conclusion, finding the best lap dancer jobs involves researching reputable venues, understanding the earning potential, and ensuring a positive work environment. By focusing on these factors and continually improving your skills, you can build a successful and rewarding career in lap dancing.

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[gosloto-results-7-49]

Minimum Age Requrie to Play Russia Gosloto 7/49?

In the world of lottery games, Gosloto 7/49 stands out as a popular choice, particularly in Russia. However, like all forms of gambling, there are specific regulations in place, including age restrictions. In Russia, the minimum age required to play Gosloto 7/49 is 18 years (read more information). This standard is not just a random choice; it is a carefully considered policy designed to protect young individuals and promote responsible gaming. Let's explore why this age limit is crucial.

The Significance of the 18-Year-Old Age Limit

Maturity and Decision-Making: By the age of 18, individuals are generally considered mature enough to make informed decisions. This maturity is crucial when participating in activities like gambling, where there's a risk of losing money. The decision to spend money on a lottery ticket should be made with an understanding of the risks and odds involved.

Legal Responsibility: In many countries, including Russia, 18 is the age when individuals gain full legal responsibility. This means they can enter contracts, be held accountable for their actions, and have the legal capacity to understand and agree to the terms and conditions of games like Gosloto 7/49.

Protecting Younger Individuals: Younger individuals may be more susceptible to the addictive aspects of gambling. By setting the age limit at 18, authorities aim to protect minors from developing gambling problems at a young age.

Financial Responsibility: By 18, many individuals start to earn their own money or have a better understanding of the value of money. This awareness is vital in gambling, where one must be prudent and responsible with their spending.

The Role of Age Restrictions in Promoting Responsible Gaming

Preventing Addiction: Gambling can be addictive, and the earlier an individual starts, the higher the risk of developing an addiction. The age limit helps in mitigating this risk by ensuring that only adults can participate.

Educational Aspect: The age restriction provides an opportunity to educate potential players about responsible gaming practices. Adults are more likely to understand and adhere to these practices.

Regulatory Compliance: For lottery operators, adhering to the age limit is part of regulatory compliance. It ensures that the lottery is operated ethically and legally.

The Global Perspective on Age Limits in Lotteries

While the age limit for playing Gosloto 7/49 in Russia is 18, this is a standard that is echoed in many other countries. The age of 18 is commonly recognized as the point of adulthood, and thus, it is the age at which most jurisdictions allow individuals to participate in gambling activities. However, this age limit can vary depending on the country and its specific laws and cultural norms.

Challenges and Enforcement

Enforcing the age limit poses its own set of challenges, especially with the availability of online lottery platforms. Lottery operators must implement effective age verification processes to ensure that minors do not participate in gambling activities. This often involves checking identification and potentially using online verification systems.

The minimum age requirement of 18 years to play Russia's Gosloto 7/49 is a critical aspect of the lottery’s operation. It reflects a commitment to responsible gaming and the protection of young individuals from the potential risks associated with gambling. This age limit aligns with global standards and is a part of the broader regulatory framework that governs gambling activities. It is important for both lottery operators and players to adhere to these regulations, ensuring that the lottery remains a safe and enjoyable form of entertainment for eligible participants. As with all forms of gambling, players should approach the lottery with a mindset of responsibility, recognizing it as a form of entertainment rather than a financial solution.

[safethaw]

When Using Dry Ice – How Long Does It Last?

Dry ice, a popular choice for preserving perishables during shipping or adding a touch of drama to Halloween parties, has fascinated many with its chilling capabilities and unique properties. One of the most common queries about dry ice is: how long does it take dry ice to melt? Understanding the lifespan and behavior of dry ice can be essential whether you’re using it for a fun experiment or to keep your food frozen on a camping trip. How Long Does It Take Dry Ice To Melt: Unraveling The Sublimation Of Dry Ice At the heart of understanding dry ice’s "melting" is the concept of sublimation. Unlike regular ice that melts into water, dry ice does not pass through a liquid phase at atmospheric pressure. Instead, it sublimates, meaning it directly converts from a solid to a gaseous form – in this case, carbon dioxide. The Rate Of Sublimation Depends On Multiple Factors: - Temperature: Naturally, in warmer environments, dry ice will sublimate faster. - Surface Area: Smaller pieces of dry ice or pellets will sublimate quicker than large blocks due to increased exposure to the surrounding environment. - Insulation: Storing dry ice in well-insulated containers can significantly slow down the sublimation process. To give a general idea, a block of dry ice can completely sublimate within 24 hours at room temperature. However, with proper insulation, this time can be extended. Calcium Chloride: Is It Just Another Salt? Switching gears a bit, when we delve into the world of deicing and melting, another common question arises: is calcium chloride salt? Yes, calcium chloride is technically a salt. It's formed from the neutralization reaction of calcium hydroxide and hydrochloric acid. While it shares the "salt" label with table salt (sodium chloride), their uses, especially in melting applications, can vary significantly. The Downside Of Salts On Surfaces And The Environment Salts, including calcium chloride, are undeniably effective in melting ice. However, this effectiveness comes with certain trade-offs: - Corrosion: Salts can corrode metals. This is a concern for cars, infrastructure, and even certain types of stone. - Vegetation Damage: The runoff from melted ice mixed with salts can dehydrate and harm plants. - Groundwater Issues: Salts can infiltrate groundwater, potentially affecting drinking sources and aquatic life. - Concrete Wear: Consistent salt use can erode concrete surfaces, leading to quicker degradation. These negatives highlight the need for safer alternatives in ice melting. Enter Safe Thaw: An Environmentally Friendly Solution For homeowners and businesses searching for an efficient but gentler solution, Safe Thaw presents itself as a superior alternative. This granular ice melt is not only effective but also free from harsh chemicals and toxins that are often found in traditional salts. Safe Thaw’s specialized formula ensures rapid ice melting without the associated harmful impacts on the environment or infrastructure. As a bonus, for those concerned about pet safety – a common worry when using deicing products – Safe Thaw is a more pet-friendly option compared to salts like calcium chloride. https://www.youtube.com/watch?v=x2uACuEGD4k In Conclusion Hope you have better understanding on ‘how long does it take dry ice to melt’. Dry ice, with its captivating fog and cooling abilities, serves many purposes, from preservation to entertainment. While it doesn’t "melt" in the traditional sense, understanding its sublimation rate can help in maximizing its use. Meanwhile, for those battling icy conditions, while salts like calcium chloride do the job, it's essential to consider their environmental and infrastructural implications. Safer alternatives like Safe Thaw provide the melting power without the adverse side effects, ensuring a win-win for both homeowners and Mother Nature. Read the full article

[pynkhues]

I feel very uncomfortable abt the Fred Astaire biopic given he absolutely did not want one to happen and was extremely clear about that. If it ends up happening I will 100% think less of everyone involved including Tom, it is a sign of extreme disrespect imo and Tom does not need the money it is just a fuck you I can do what I want, akin to spitting on FA's grave.

I think the problem with Tom Holland isnt his agent because lets be real, his agent and team are excellent. I think from interviews etc Tom is not that interested in film as an art form, doesn't seem aware of indie or foreign directors doing interesting work, and is pretty anti-intellectualism in general. So when he tries to "go indie" he tries to go for projects that seem gritty or interesting on paper, but end up flopping and coming across "THIS IS ACTING, TAKE ME SERIOUSLY." Tom has the power to approach indie directors he likes and get movies funded for him to star in like Robert Pattinson with Safdies, Claire Denis, etc etc. But Tom is not the type to know who Claire Denis is. He should work with someone like Jeremy Saulnier, that is my advice to him lol

I totally respect your uncomfortable feelings about it as a topic, anon! You're right, Astaire was clear about not wanting a bio pic on his life, because he - in his own words - never wanted to feel misrepresented, and any adaptation or exploration of his life as a result feels inherently disrespectful of that wish.

At the same time though - - I don't know. I guess I tend to have two questions about a bio pic, which is a) what is its purpose? and b) who's it for?

(Full disclaimer: I don't disagree with you - I just also have mmm, a mixed bag of feelings on the topic, I guess, haha.)

So let's talk a little about bio pics

Because it's an interesting conversation, right? They've always been a staple of filmmaking, both for better and for worse, and I do think they vary a lot as a genre. Some of them are naked mouthpieces for the individual or their estate, some are ways to enshrine or disparage an historical figure, some are about capitalising on a current popular trend, some are ways to explore a historical movement or era, to lend it greater understanding or cultural context through a particular person, or to keep an important figure from being forgotten or remembered in a way people with a vested interest might not want them to be remembered, and hell, sometimes I think a bio pic is just about telling an interesting story.

Does intent matter? Yeah, I think so, and I can understand why, in that context, intent can feel immediately malicious when the person a story is based on or inspired by was against the idea, but I don't necessarily think that's automatically the case.

I guess, in that sense, that brings it back to who a bio pic is for. I actually tend to think bio pics are at their worst when they're for the person they're about. Like, I enjoyed Elvis as a piece of entertainment, but as a bio pic it fails on more counts than it doesn't, in no small part because it was for Elvis. It was for his legacy, his daughter and grandchildren, his diehard, uncritical fans, and, in my more cynical moments, for Graceland too. It was about reinforcing a legacy instead of truly exploring it.

And exploring it is important. Good bio pics can help to shed more light and bring a deeper understanding to crucial moments and figures in history, and how someone wants to be represented or understood in that I don't think is entirely their decision. We don't exist in a vacuum; our stories, our histories, the roles we play in the world, aren't ours alone to dictate the terms of. We play roles in other peoples lives, from those who know us, and in the case of many public figures, those who know of them, and to make the decision unilaterly that our legacy can't be explored beyond us is I think both naive and potentially dangerous.

I don't know. It is complicated, and I'm not even saying that I'm entirely comfortable either with the fact that it's happening, especially given there are two Astaire bio pics in the works right now (ironically the other one's cast Jamie Bell, which is kind of funny from a Billy Elliot trivia standpoint), but like I said in my last post, I don't know if I believe that Astaire's wishes should stand so resolutely as others. After all, the law doesn't recognise that stipulation, and if it did, what would there be to stop other people using that as a sort of media gag to prevent critical bio pics that challenge the legacy of a public figure i.e. the counter point to Elvis being able to be this year's Priscilla?

I guess I'm saying that our histories might feel like a thread that belongs to us, but they're ones stitched into the fabric of time and of culture. They inform relationships and families, and in Astaire's case an artform and an industry, and to me, I don't think that means that he owes anyone more than what he gave in his lifetime, but I do think a version of his story lives beyond him - both in the lives he touched and the culture he influenced - and for better and for worse, that's not something he'll ever have complete control over.

Let's talk about Tom Holland

I agree and I disagree on this front - as a total cinephile, I truly feel the pain of him not having known who Pedro Almodóvar was in that one interview, haha, but I don't necessarily think that's an issue. After all, it's literally what he has an agent and a manager for. They should be looking at talent across the board and guiding him towards people they think he'd work well with, especially given he has worked with indie directors before - like, gosh, Kornél Mundruczó was the establishing director on The Crowded Room, and Antonio Campos directed The Devil All the Time.

But you're right - the projects aren't right, and I don't think that it helps that he doesn't seem to be well versed in cinema enough to be able to articulate what it is that he likes and doesn't like, and I also don't think that it helps that he skews young and doesn't really match the styles of the directors he's said he wants to work with (Tarantino in particular I think he doesn't fit the type for, but in looking up a couple of things to reply to your ask, I found out he did meet with Bong Joon Ho last year who I actually think could be a good fit for him).

I like your picks for directors a lot though! I think you're right about Jeremy Saulnier in particular. and while I'm not his biggest fan, I think Justin Kurzel could have a really interesting role for him in that sort of similarly masculinity-soaked indie vein. I also think (and gosh, these aren't even that indie these days, haha) Alex Garland, Karyn Kusama, Dan Gilroy and Marielle Heller would be interesting directors for him.

And while they're not indie, I do also think he'd do well in a Coen Brothers or a Baz Luhrmann.

But who knows at this point. He certainly runs the risk of being Peter Parker forever right now.