#which of course we should be critical etc but like. do we want ANY mainstream movies that don’t pander to the conservative ethos or what | Explore Tumblr posts and blogs

olderthannetfic · 4 years ago

Note

I'm a Chinese, nationally and racially. Racial projection seems to be a common practice in western fandom, doesn't it? I find it a bit... weird to witness the drama ignited upon shipping individuals with different races, or the tendency to separate characters into different "colors" even though the world setting doesn't divide races like that. Such practice isn't a thing here. Mind explaining a bit on this phenomenon?

Sure, I can try. But of course, fish aren’t very good at explaining the water they swim in.

Americans aren’t good at detecting our own Americanness, and a lot of what you’re seeing is very much culturally American rather than Western in general. (In much of Europe, “race” is a concept used by racists, or so I’m told, unlike in the US where it’s seen more neutrally.) Majority group members (i.e. me, a white girl) aren’t usually the savviest about minority issues, but I’ll give it a shot.

The big picture is that most US race stuff boils down to our attempts to justify and maintain slavery and that dynamic being applied, awkwardly, to everyone else too, even years after we abolished slavery.

There’s a concept called the “one drop rule” where a person is “black” if they have even one drop of black blood.

We used to outlaw “interracial” marriage until quite recently. (That meant marriage between black people and white people with Asians and Hispanic people and others wedged in awkwardly.) Here’s the Wikipedia article on this, which contains the following map showing when we legalized interracial marriage. The red states are 1967.

That’s within living memory for a ton of people! Yellow is 1948 to 1967. This is just not very long ago at all. (Hell, we only fully banned slavery in 1865, which is also just not that long ago when it comes to human culture.)

Why did we have this bananas-crazy set of laws and this idiotic notion that one remote ancestor defines who you are? It boils down to slavery requiring a constant reaffirming that black people are all the same (and subhuman) while white people are all this completely separate category. The minute you start intermarrying, all of that breaks down. This was particularly important in our history because our system of slavery involved the kids of slaves being slaves and nobody really buying their way out. Globally, historically, there are other systems of slavery where there was more mobility or where enslaved people were debtors with a similar background to owners, and thus the people in power were less threatened by ambiguity in identity.

Post-slavery, this shit hung around because it was in the interests of the people in power to maintain a similar status quo where black people are fundamentally Other.

A lot of our obsession with who counts as what is simply a legacy of our racist past that produced our racist present.

The other big factor in American concepts of identity is that we see ourselves as a nation of immigrants (ignoring our indigenous peoples, as usual). A lot of people’s families arrived here relatively recently, and we often don’t have good records of exactly where they were from, even aside from enslaved people who obviously wouldn’t have those records. Plenty of people still identify with a general nationality (”Italian-American” and such), but the nuance the family might once have had (specific region of Italy, specific hometown) is often lost. Yeah, I know every place has immigrants, and lots of people don’t have good records, but the US is one of those countries where families have on average moved around a lot more and a lot more recently than some, and it affects our concepts of identity. I think some of the willingness to buy into the idea of “races” rather than “ethnicities” has to do with this flattening of identity.

New immigrant groups were often seen as Other and lesser, but over time, the ones who could manage it got added to our concept of “whiteness”, which gave them access to those same social and economic privileges.

Skin color is a big part of this. In a system that is founded on there being two categories, white owners and black slaves, skin color is obviously going to be about that rather than being more of a class marker like it is in a lot of the world.

But it’s not all about skin color since we have plenty of Europeans with somewhat darker skin who are seen as generically white here, while very pale Asians are not. I’m not super familiar with all of the history of anti-Asian racism in the US, but I think this persistent Otherness probably boils down to Western powers trying to justify colonial activities in Asia plus a bunch of religious bullshit about predominantly Christian nations vs. ones that are predominantly Buddhist or some other religion.

In fact, a lot of racist archetypes in English can be traced back to England’s earliest colonial efforts in Ireland. Justifying colonizing Those People because they’re subhuman and/or ignorant and in need of paternalistic rulers or religious conversion is at the bottom of a lot of racist notions. Ironic that we now see Irish people as clearly “white”.

There are a lot of racist porn tropes and racist cultural baggage here around the idea of black people being animalistic. Racist white people think black men want to rape/steal white women from white men. Black women get seen as hypersexual and aggressive. If this sounds like white people projecting in order to justify murder and rape... well, it is.

Similar tropes get applied to a lot of groups, often including Hispanic and Middle Eastern people, though East Asians come in more for creepy fantasies about endlessly submissive and promiscuous women. This nonsense already existed, but it was certainly not helped by WWII servicemen from here and their experiences in Asia. Again, it’s a projection to justify shitty behavior as what the party with less power was “asking for”.

In porn and even romance novels, this tends to turn up as a white character the audience is supposed to identify with paired with an exotic, mysterious Other or an animalistic sexy rapist Other.

A lot of fandoms are based on US media, so all of our racist bullshit does apply to the casting and writing of those, whether or not the fic is by Americans or replicating our racist porn tropes.

(Obviously, things get pretty hilarious and infuriating once Americans get into c-dramas and try to apply the exact same ideas unchanged to mainstream media about the majority group made by a huge and powerful country.)

Politically, within the US, white people have had most of the power most of the time. We also make up a big chunk of the population. (This is starting to change in some areas, which has assholes scared shitless.) This means that other groups tend to band together to accomplish shared political goals. They’re minorities here, so they get lumped together.

A lot of Americans become used to seeing the world in terms of “white people” who are powerful oppressors and “people of color” who are oppressed minorities. They’re trying to be progressive and help people with less power, and that’s good, but it obviously becomes awkward when it’s over-applied to looking at, say, China.

Now... fandom...

I find that fandom, in general, has a bad habit of holding things to double standards: queer things must be Good Representation™ even when they’re not being produced for that purpose. Same for ethnic minorities or any other minority. US-influenced parts of fandom (which includes a lot of English-speaking fandom) tend to not be very good at accepting that things are just fantasy. This has gotten worse in recent years.

As fandom has gotten more mainstream here, general media criticism about better representation (both in terms of number of characters and in terms of how they’re portrayed) has turned into fanfic criticism (not enough fics about ship X, too many about ship Y, problematic tropes that should not be applied to ship X, etc.). I find this extremely misguided considering the smaller reach of fandom but, more importantly, the lack of barriers to entry. If you think my AO3 fic sucks, you can make an account and post other fic that will be just as findable. You don’t need money or industry connections or to pass any particular hurdle to get your work out there too.

People also (understandably) tend to be hypersensitive to anything that looks like a racist porn trope. My feeling is that many of these are general porn tropes and people are reaching. There are specific tropes where black guys are given a huge dick as part of showing that they’re animalistic and hypersexual, but big dicks are really common in porn in general. The latter doesn’t automatically mean you’re doing the former unless there are other elements present. A/B/O or dubcon doesn’t mean it’s this racist trope either, not unless certain cliched elements are present. OTOH, it’s not hard for a/b/o tropes to feel close to “animalistic guy is rapey”, so I can see why it often bothers people.

A huge, huge, huge proportion of wank is “all rape fantasies are bad” crap too, which muddies the waters. I think a lot of people use “it’s racist” as an easy way to force others to agree with their incorrect claims that dubcon, noncon, a/b/o, etc. are fundamentally bad. Many fans, especially white fans, feel like they don’t know enough to refute claims of racism, so they cave to such arguments even when they’re transparently disingenuous.

Not everyone here thinks this way. I know plenty of people offline, particularly a lot of nonwhite people, who think fandom discourse is idiotic and that the people “protecting” people or characters of color are far more racist than the people writing “bad” fic or shipping the wrong thing.

But in general, I’d say that the stuff above is why a lot of us see the world as white people in power vs. everyone else as oppressed victims, interracial relationships as fraught, and porn about them as suspect. Basically, it’s people trying to be more progressive and aware but sometimes causing more harm than good when those attempts go awry.

#Anonymous

169 notes · View notes

persepholline · 3 years ago

Text

I've read that article about the romanticization of the Darkling and while I absolutely understand people who are pissed off/sad and I agree that it's shitty, I find LB's attitude towards Darkles stans very funny in a "girl what are you doing" sort of way because it's so petty like I've never heard of a bestselling author writing a portion of their fans into their books as a crazy cult before, it clearly hit a nerve

I'm new to the fandom but the feeling I get is she wrote something problematic ten years ago and became very embarrassed about it afterwards so she turned on the fans that liked it as a way to absolve herself. Especially since fandoms in general have become a lot more focused on discussion of what constitutes healthy/acceptable relationships to write about. And in a way I get it I had a huge Twilight phase in high school and afterwards I was super embarassed about it because of how problematic and cringe it was. But now with distance and more maturity I'm able to both still see why it was problematic and also why I was drawn to it (mostly the very unhinged representation of female desire) and like...it's really not the end of the world and no it never made me believe that breaking into somebody's room at night to watch them sleep was actually ok in real life lmao. This feels so obvious to me but apparently it needs to be said.

(More under the break this is turning into an essay, I've been thinking of this a lot recently)

And of course it's good to have these discussions about how historically romance tropes have echoed social dynamics of men's shitty behavior being romanticized and excused. But these days they often are so simplistic and focused on chasing clout that they become this weird new puritanism and moral panic about oh now women are reading novels it's going to make them hysterical or something

So you have these weird assumptions that you can't like a character and also be critical of their actions, or enjoy certain parts of a character and not others, or wish they were written differently and like them more for their potential (which I'm sure stings a bit for an author lol) - it assumes that if you like a character it means you would approve of their actions in real life, or that people just stupidly reproduce whatever they see on TV. That tendency to treat fictional characters like real people is the thing that actually worries me, to be honest, because it indicates a lack of distance and critical capacities regarding how stories are used and received. But people - fans and authors - are so scared of being called out as problematic and harassed for it that they're going to shy away from any nuance.

And yeah I think that it's good that standards of what constitutes an ideal relationship are evolving and becoming more feminist and communicative and all that and we definitely need more of that. But not all fiction has to be aspirational! Sometimes you just want to read about fucked up shit, because it's cathartic or fascinating, even healing at times because with fiction you are absolutely in control and can choose when to close the book. Toxic relationships in fiction can have an appeal specifically because they go to extremes of feeling that we don't want to go to in reality, in exactly the same way as horror movies or very violent action movies - which I don't see a lot of people besides fundamentalist Christians argue that they turn you into violent psychopaths (and that feels very obviously sexist). And for women, who are often taught growing up that love is the purpose of life, the "saving someone with your ability to love" can be a power fantasy in the same way that being a buff superhero who saves the day with their capacity for incredible violence can be a power fantasy for men. Still doesn't mean those women are going to fall in love with actual murderers or that those men are going to start beating up people at night. And love is scary, and weird, and weirdly close to horror at times, with all the potential for loss of self and being vulnerable and overwhelming feelings and potential for being horribly hurt and it should be possible for stories to explore that without anybody screaming about how this is going to Corrupt the Youth or something

And I mean I get it LB wanted to write a cautionary tale for teenagers, but it just did not work for reasons a lot of people have already written about - the fact that the Darkling is the leader of an oppressed minority and is the only one with a real political agenda to end that oppression in the first trilogy, the fact that he helps Alina come into her own power while her endgame LI is someone she keeps herself small for, that she's shamed for wanting power after growing up without any, a generally very wonky conception of privilege, and a lot of other stuff with yucky regressive implications to the point where stanning the villain actually feels liberating and empowering which is a surefire sign that the narrative is broken (unless it's a villain focused story lmao). But of course that Fanside article makes almost no mention of the political dynamics, it's all about interpersonal stuff which is an annoying trend in YA, there are those massive events happening in the background but it's made all about the feelings of the hero(ine) ; war as a self-development quest (which is kind of gross). Helnik is kind of an example of this too - I like them, I think they're fun ! But Matthias spends a big part of the story wanting to brutally murder Nina and her kind, and he mostly changes his mind because he finds her hot. Like you don't feel there is some sort of big revelation that his entire moral system and political framework is completely rotten ; it's all better because of feelings now.

As a teenager that kind of sanctimonious bullshit would have annoyed the hell out of me ; I read those books in my early twenties and I found the ending so stupid I wouldn't have trusted any message or life lessons coming from them. And I liked reading/watching dark stuff as a teenager, as a way to deal with the very intense inner turmoil I was dealing with - and I turned out fine ! Meanwhile I've seen several times women in very shitty relationships being obsessed with positive energies and stories ; they were so terrified of their life not being perfectly wholesome they ended up being delusional about their own situations.

Like personally I think the Darkling is a compelling, interesting, alluring character and also a manipulative, murderous piece of shit and that Alina should get to punish him (like in a sexy way) - but he's also the end result of centuries of war, oppression and trauma and reducing that to "toxic wounded boy" feels kind of offensive ngl ESPECIALLY since the books don't offer any kind of systemic analysis or response to oppression beyond "the bad guy should die" and "now the king/queen is a good guy our problems are solved!!!!"

In Lives of the Saints, we see how Yuri is abused extremely badly and almost killed by his father, and so when his father dies when the Fold swallows Novokribirsk, he thinks the Starless Saint has saved him. Later in KoS/RoW he's turned into this fanatic who explains away all the Darkling's crimes. The other followers talk about how the Starless Saint will bring equality for all men. Then the Darkling comes back and actually thinks his followers are pathetic, which feels again like a very pointed message to his IRL stans. Which is absolutely hilarious to me. Like oh no, if he was real he would not like you and think you're pathetic ! Yeah ...but he's not. Real. Damn right he would not like the fics where Alina puts him on a leash. I'm still going to read them. What is he going to do about it, jump out of the page ? Jfjfjjdhfgfjfj

Anyway I think the intended message is "assholes will use noble political causes for their own gain and to manipulate people" and "being abused/oppressed is not an excuse to behave badly." Which. Sure. But that's kind of like...a tired take, honestly ? A big number of villains nowadays are like this ; either they've been bullied as kids, or they're part of an oppressed group, or they have "good ideals but too extreme". This is not surprising because a lot of mainstream heroic narratives present clinging to the status quo as Good and change as chaotic and dangerous. And like sure in real life people often do bad shit because they're wounded and in danger. But if you want to do a story like that, you have to do it with nuance, talk about cycles of violence, about how society creates vulnerable people to be exploited, about how privilege gives you more choices and the luxury of morals, etc. The Grishaverse does not have this level of nuance (maybe in SoC a little bit but definitely not in TGT). So it kind of comes off as "trauma makes you evil" and "egalitarianism is dangerous" and "if you're abused/oppressed you're not allowed to fight back". And ignores the fact that historically, evil generally comes from unchecked privilege.

I guess my point is that there are many things I like about LB's writing, she knows how to create these really exciting character dynamics, and the world she has created is fascinating. But these stories are not a great starting point for imparting moral lessons. And her best characters tend to be, at least in canon, the morally grey ones. I hope one day she'll be at peace with the fact that she wrote the Darkling the way she did and leave his fans alone but in the meantime I'm just not going to take this whole thing seriously I'm sorry

#darklina #the darkling #alina starkov #aleksander morozova

78 notes · View notes

btsandvmin · 4 years ago

Text

Ask: Reply - 2021.03.25

Time to go through some of your asks! I am glad you seemed to like the new format and I’ll keep it up for now. (If you have any suggestions for improvement feel free to comment.) I got a lot this time and with pretty varying topics, so it took a while for me to write this even if it still seems pretty sloppy. I also got two asks I just answer briefly but didn’t want to include due to the topics. Anyways, let’s get to it. :)

Topics:

Ask 1 - Anon share about shipping Ji/hope and becoming a Vminie Ask 2 - Reasons to ship Vmin and no leaks of a relationship (+ rumors ask) Ask 3 - Stress over my analysis “making people delusional” Ask 4 - Tae/kook and Ji/kook being big ships (+t/k shippers ask) Ask 5 - Not enjoying a bond because of it’s shippers Ask 6 - Vmin videocall while getting make-up. Ask 7 - Vmin shaking hands Ask 8 - Wheesa from Mamamoo Ask 9 - Any wholesome fic recs?

(I got a few more left, but the post was getting long, so I’ll save them for next time. I promise I’ll answer them in my next ask post.)

Ask 1 - Anon share about shipping Ji/hope and becoming a Vminie

Hi and thank you for sharing your story, I always find it interesting to read how people found their way to Vmin and in particular if they shipped something else first. Don’t worry about it being long, it was a fun read. :)

I see what you mean with there being “something about Jimin” and I actually think he is so shippable with all BTS members. He truly works so well and is so sweet and cute with all of them. I also think Ji/hope (as many hyung x maknae line ships) is a very underrated ship. And they used to be very big on the fanservice on stage in the early years too so they definitely have some “questionable moments” in that sense as well.

I think the way Jimin express his love for all his members is amazing and has probably lead to all of them expressing their love a lot more opnely. Think of how Jimin started their tradition of giving gifts for their birthdays for example. Honestly, all BTS ships are good ships but I really think Jimin’s way of being so openly affectionate just makes all his ships very soft and full of love. But yes, more love to Ji/hope please, because they have a lot of great moments.

It’s interesting how you say you were affected by the platonic label Vmin has. I really think it’s very strong and works very well on a majority of the fandom and on most people that don’t dig a bit deeper and question what Vmin have actually done. That being said, a lot of the surface level things for all ships are great, and I do think you really have to deep dive into a ship to get the more actually questionable moments a lot of the time. And I think with Vmin this hasn’t been done so much, so people might be surprised when they actually do look closer.

I also like how the lipstick moment and the kissing the doll moments made you end up questioning Vmin. For me who has looked at Vmin for so long these were just more examples of things I had already seen, but I am sure many newer fans (just like you did) would react and look twice at these moments. I’ll tell you though, these moments are just barely scratching the surface of questionable things that Vmin have done.

I am glad you like my blog and think the things I say makes sense, though I do want to be clear and say it’s just me guessing and making theories. I am glad they make sense, but I could still be wrong. :P Thank you again for sharing your own story, and I hope you will keep on enjoying Vmin and my blog. <3

Ask 2 - Reasons to ship Vmin and no leaks of a relationship (rumors)

I mean, I think I have shared my reasons to ship Vmin in pretty much every post I have ever done on this blog. There’s a lot of them after all... But if you haven’t already I would suggest checking out my posts 10 Reasons to ship Vmin and 10 more reasons to ship Vmin.

I stress the point that Vmin could easily be platonic but simply extremely close all the time as well, so we could definitely be reading too much into things. Of course this goes for all shippers (or rather believers, there is a difference after all). I suspect your question might not be about shipping but rather if Vmin could be real and what reasons I might have to think that is possible. You can check my post Shipping vs Believing if you want to know how I view things very differently when it comes to simply shipping and anything that goes beyond shipping).

As for what makes Vmin stand out as more likely compared to other ships I guess the main things I take into account are: The songs, Vmin being careful (including friendzoning and other members’ reactions to them), their sometimes contradicting behavior (like them being soulmates but seemingly being awkward with some things or not being together as much as we might expect etc.), the way they do some very romantic looking things and have increased those behaviors over time and then just a lot of interesting moments and their close relationship in general. Also, soulmates is not a label to underestimate.

As for leaks I think you have to ask the same question for all idols, and all relationships. I mean, how many leaks of any BTS relationship have we gotten? I don’t think the guys have lived in celibate for their whole careers. Not to mention a lot of idols date secretly, and for LGBT+ idols I am sure they would be even more careful. But at the same time people also would likely be less suspicious unless they do something very obvious. I mean, think of all the things we have seen BTS do openly. I also think we have to remember that if it’s something that the fans doesn’t want to know or believe it also is less likely to get spread. For example that an idol they love would be LGBT+... because heteronormativity and homophobia is not to be taken lightly either. I also think you underestimate how many secrets insiders in all entertainment industries are keeping. I am sure many idols are pretty open with their dating to many, but it doesn’t get spread because there is a risk with being the whistle blower as well. Perhaps in particular with exposing someone’s sexuality which could ruin their whole career... And any person trying to ruin BTS’s reputation at this point might honestly get lynched by all of Korea.

I also know some rumors (not about sexuality) even gets pushed away as spread by antis etc. So sometimes even when rumors leak they get shut down. In the end there are a lot of rumors floating around, many that contradict each other as well, but I don’t think lack of rumors has to mean it is impossible for it to be happening. Again, many in the LGBT+ community aren’t even out to their own family and manages to hide that... We don’t know enough about how two members in a relationship would be or how open they would be to begin with. I suspect in the case of Vmin they would be very careful and only a select few would know.

There could also be leaks, but they don’t reach the mainstream fandom. Like how I learned about the problems and disbandment talk back in the summer of 2018. Some things definitely do get leaked, but it is also very difficult to know if they are real or not until confirmed.

But I do think if a couple is real and they are pretty open with it, eventually they would either be in an obvious glass closet or there would be rumors or even confirmation. Because if a couple isn’t careful to begin with then they clearly risk exposure and likely wouldn’t mind too much to be outed.

It’s definitely a complicated topic, and a whole world we as fans don’t know enough about to even come to any real conclusions. So don’t worry about not knowing, it’s not like we as outsider can easily know how things work as they are likely even different for each company, group, couple, individual etc.

I also want to adress one ask I got but won’t include, about a particular sasaeng rumor ((part of ask: there was news going around by saesung (idk if I spelled it right sorry)...)). I only have two things to say, because I don’t want to spread any of these rumors or want any of you to look for these things.

1. Rumors are rumors, we have no idea what sources they come from and many times they also contradict each other. Often they can be spread by antis of some kind with an agenda to hurt or worry. It’s better to simply pay them no attention most of the time.

2. If the rumors are ridiculous in nature, as the one you asked about, it’s even better to not spread it further. In this case it would go against the personalities of the members and against their own words. It would mean BTS lied to us straight to our faces about something there is no reason to lie about, and thus doesn’t have any reason to happen to begin with. Be open of course, but also think critically. Don’t worry in vain, just try to ignore stuff like this.

Ask 3 - Stress over my analysis “making people delusional”

Thank you a lot @phantomavenger, your message really soothes me. This is a dilemma I’ve struggled with a lot over the years actually. If sharing stuff and theories about Vmin might not be good, no matter if I am right or wrong. Because if Vmin are together I am basically working to exposing them against their will and if I am wrong I might be a factor in people believing in something that isn’t real, which might end up hurting them.

I usually end up thinking that maybe it’s better for things to come from me with a more nuanced take than that someone else finds it and it spreads in a more uncontrolled and delusional way right away. If that makes sense? I know this might sound very conceited, but since I know my words are being spread I at least hope to make people understand the importance of not jumping to conclusions and sounding too sure of anything we don’t really know. Again, a lot of ships have believers, and that says something. We should all be careful both for our own sake and for the privacy of the boys. Normalizing delusional behavior is what usually leads to worse and worse things being done “in the name of the ship” as well and I just don’t want that from Vminies. The trickle down effect of people misunderstanding or twisting my words is also a bit scary. There are also so many shipper at this point that I think most things I point out will eventually likely be pointed out or noticed by someone else anyway, so...

But you are right, I can’t take responsibility for people taking my things out of context or getting convinced even though I try to tell them not to. In the end I write analysis on Vmin because I don’t think anything I find is enough to actually prove anything (this goes for all ships btw). I’ll share my analysis and with it I will also have many reasons on why shipping real people and “knowing a ship is real” is so much more difficult than many seem to think.

Here’s a sneak peak in case anyone is interested.

Don’t worry, I’ll try to edit it and make it more concise. Thank you again for your kind words and reassurance. :)

Ask 4 - Tae/kook and Ji/kook being big ships

Hi, and wecome to the fandom! I hope you will enjoy being an ARMY and keep liking Vmin. :3

I answered recently about big ships (Ask: Reply - 2021.03.18 Ask 3 - What makes a ship big?) and I’ve talked about popularity regarding these certain ships before as well in Why do you think Vmin get so brozoned by the fandom?

First I would like to say that “vibes” to me doesn’t really say much... All shippers clearly have their own perception of the members and their dynamics, otherwise everyone would ship the same thing. That being said I think projecting is part of many shippers’ reasons to ship and definitely think it’s part in why JK ships in general are very popular. Not just within BTS but for straight ships as well.

I don’t think there is ever one simple reason for why someone ships something, and same for why they might think a pair is actually together. Me might all have our own reasons for why we like a certain ship. For me all ships in BTS have good enough chemistry and dynamics to be shipped and I don’t think there is anything weird with those ships being popular. Especially since they’ve basically been popular since the start for their own reasons and then simply kept growing.

In short I think these things might play a big part in why some ships get bigger than others:

1. Projecting and falling for a ship similar to your own preference in a relationship 2. Amount of moments, and type of moments. 3. Type of relationship and the fandom view. Some dynamics will draw people in more even if it’s only percieved dynamics and stereotyping. Sexual tension and complicated drama is more “fun” than “friends to lovers” trope. 4. How popular they are. Big ships will grow bigger faster. More exposure and material by fans might make people find big ships easier. 5. Room for analysis. Honestly, if a ship seems “complicated” it might be more interesting to dig deeper into. So when people see analysis of ji/kook or tae/kook they get interested and might get more involved. Basically if analysis are being made it will make people more invested, and for Vmin it’s not that people can’t analyze them, but rather that not many have. So you won’t find as many fans deep diving and looking harder at Vmin compared to many other ships.

Again, ships might be popular for many different reasons, but I don’t think size of a ship really is that important. Just ship and let others ship what they like as well.

I also want to briefly adress an ask I got but that I won’t post, because I got yet another ask about Tae/kook. I’m sorry I won’t include the ask but I definitely agree with your comment to “Look at V as an individual person, not part of a ship”. This should be obvious and apply for all shippers.

But I do want to say that I don’t think shipping a particular pair is the problem, it’s how you do it. I personally see no problem with shipping anything as long as it only is shipping, which is a fantasy. I ship Chen x Baekhyun from EXO and Chen is married... I simply enjoy their dynamic as a fantasy. Just like how I enjoy characters in a book or movie I am aware it isn’t real. I mostly see shipping as a problem when you let it affect how you behave towards people with different opinions or if you push it onto the people themselves which is never ok (even if it would be real). Of course there are many examples of shippers taking things too far, but I don’t think the ship in itself is the problem, but again what those shippers might do. So yeah, I condone any shipper who crosses the line and push things onto the members, but I don’t think shipping in itself is bad.

Ask 5 - Not enjoying a bond because of it’s shippers

Hi, and first of all I am sorry you are feeling like this. I think sadly this is quite a common problem, and I am not sure I have any good answers for you. But I’ll try. I do recognize this feeling though I have mostly felt it in other fandoms where shippers of “rival” ships got me so annoyed it was difficult to not just see the shippers’ reactions every time they had a moment. Which made it less fun and sometimes hard to enjoy their moments even though I would have usually. What I did in that case was actually stop engaging in the fandom all together for a while, to take a step back as many of my own fellow shippers’ negativity about the other shippers and their theories affected me as well (btw this was a fictional ship so it’s quite different in many ways).

It’s sad when shipping affect us this much, but it can be hard when we invest so much time and get so much enjoyment out of it. I am not sure how bad you feel, but I think when you feel conflicted (possibly cognitive dissonance) when coming across ji/kook content it might have gone a bit too far (I talk about it a bit in this post) and be too attached to the idea of your own ship. If so you might want to consider taking a step back and engage with the fandom less and just focus on enjoying the actual content we get. If you simply react due to shippers and don’t actually care if ji/kook are happy together (or even would be real) I would simply suggest trying to stay away from those people. Sadly over analyzing the members happens a lot and will likely not stop anytime soon. I know it’s not that easy, but I don’t really have any better advice. Try to find places you can be while feeling happy, or take a break if you have to. Distance and time might help at times and I know many people who take breaks from their fandoms when they get too much for them and they get less enjoyment from being part of the community.

For me I did also have a period when looking at Ji/kook made me a bit annoyed or even sad. It was during a period when I was extra sensitive and wasn’t feeling very good so even small things affected me more than they should. But it had less to do with Ji/kook and more to do with consuming very toxic narratives from Ji/kook shippers that basically included Vmin being fake or played up. The idea of Vmin being fake hurts me much more than any other ship being real. Consuming a lot of quite toxic Ji/kook theories made me think Ji/kook being real would equal Vmin being fake and thus seeing Ji/kook hurt a bit.

What worked for me was realizing that this narrative makes no actual sense and there is no point in me worrying about Vmin being fake. And if they would be I know my reaction would simply be to walk away as I wouldn’t enjoy BTS if they lie about things there is no reason to lie about. This took away the feeling of being insecure, and I can be happy with just knowing Vmin are soulmates, no matter what kind.

I also stopped looking up analysis of other ships and simply keep in mind that even if other ships are real it doesn’t change the bond between Vmin. I know enough about other ships to see their weird moments and to know I shouldn’t be certain about my own ship. I can also see what other shippers might see in a moment on my own at this point, so I do see how seeing moments might make you just think of what theories it might lead to. For me it was about changing my own mindset about other ships vs Vmin and to simply not consume content that was toxic or made me feel bad. Basically, even if Ji/kook or any other ship would be real it wouldn’t bother me as I know what Vmin has is still incredibly special and genuine.

To me this worked, but every person has their own limits. I would suggest backing off from consuming shipping content and simply look at how much the actual content shows the love between the boys. And also if possible try to get with the idea that even if another ship is real, that isn’t neccessarily bad. I would be happy for any ship if it was real at this point as long as they make each other happy, and I don’t feel threatened by other ships because of it.

As for shippers being bad or toxic, sadly with size and confidence it seems to happen a lot. I simply don’t bother with antis or over analyzing shippers of any kind that put very negative narratives on the boys. I know there will always be some bad ones in all bigger fandoms, so I try to not let it affect me too much. In fact I feel more hurt when my own ship communities engage in toxic behavior as that is harder to ignore and walk away from.

Thank you for sharing your struggles and I hope I could help maybe even a little. I know it’s not easy and as you say the guilt is also hard to deal with. I know I might have strayed away from your actual issue, but it’s a very difficult topic for me too. But at least your worry shows you truly do care for the members and don’t want to see them in a negative light. Just try to do what you need to do to feel better, even if it might be hard to do. Also thank you so much for liking my blog. <3

Ask 6 - Vmin videocall while getting make-up.

I am going to be frank here, this is a moment where fans most likely saw incorrectly and then some still spread it as a Vmin moment. I know people debated about it when it happened and I am sure people still have different opinions on it. But for me since it seems pretty clear the screen corresponds with how Tae moves the phone and takes a picture of himself. I think it was on selfie mode, not that it was a video call. This image I found might be edited because it look very much like Jimin, but it could also be accidental that this screenshot really really looked like him. I know it really looks like Jimin and the paleness of the screen makes it difficult to know... But if you watch the video in it’s original size and quality you see it’s Tae pretty clearly.

The video is [BANGTAN BOMB] Jin's Sunglasses Collection in Hong Kong - BTS (방탄소년단). You can watch it around 2.10. Sorry for bursting the bubble. But hey, at least we know Vmin actually do facetime each other despite how much they see each other. :)

Ask 7 - Vmin and shaking hands

Vmin really are extra with the shaking (and holding/touching) hands, aren’t they? To be fair I think they do this quite a lot with other members as well, but it’s still definitely a Vmin thing. ;)

As for Brooklyn 99 I have watched clips, but not the full show, so I know who Holt and Kevin are... But I didn’t know they did that. That’s really sweet. Though obviously it sucks they can’t just be like any other couple and would have to make hand shaking their public display of affection (though I suppose it could just be their personalities as well? Like I said I don’t know the show too well.)

Funny but I actually wrote a little drabble Vmin part of something similar at one point... Though it wasn’t about shaking hands but instead fist bumps, as Vmin was doing that a lot at that time. I just find the idea of Vmin making anything normal into something cute and intimate, like an inside joke, very endearing. Thank you for sharing. :)

Ask 8 - Wheesa from Mamamoo

Thank you for sharing this cute moment. :) I really do like Mamamoo and from the few moments I have seen with them they seem really sweet with each other. Also I love Twit, it’s such a bop!

Wouldn’t it be amazing if Vmin followed suit and Jimin appears in Tae’s MV for KTH1? :3

Ask 9 - Any wholesome fic recs?

Hi and thank you for your kind words. :3 English isn’t my native language and I struggle with being articulate sometimes, so your comment makes me really happy. :)

As for fics I am sorry, I have two big fic recs and I feel most of my favorites are included in those. (Huge Vmin fic rec and Vmin fic rec - Canon compliant) I know they don’t have any indications of rating etc. but for now looking through these lists to check if they fit what you like is what I have. If anyone has any particularly wholesome BTS fics to rec feel free to add them in the replies. :) Thank you and sorry for not coming with any actual recs in this reply.

And that will conclude this post as it was starting to get a little long. :) I do have some asks left, and I’ll try to answer them as soon as I can with my next post. Thank you all for your interesting questions and shared stories. I hope you found this post enjoyable, or at least worth a read, as it included some pretty heavy topics.

#vmin #btsandvmin #Btsandvmin ask #ask: reply #vmin analysis #bts shipping #Btsandvmin answer #My post

58 notes · View notes

diamondcitydarlin · 3 years ago

Text

i would so so love it if we could not do the usual moral / 'healthy relationship' expectation projections on n@ndermo , that thing we do where we have to pick apart every aspect of every era of their dynamic to make sure that they absolutely do not violate any of the 'healthy relationship' laws tumblr set down long ago that i'm -still- trying to figure out. cause I'm already seeing posts like, 'i dONt tHINk guillermo and nandor are EMoTIonALLY MatURe ENougH-' please. for the love of everything please can we not do that cyclical rhetoric this time. of course neither of them are 'emotionally mature', which is entirely the point.

i'm not trying to be mean or downplay anyone's concerns etc etc etc but...yall. this is a universe where people casually get killed and eaten in such a way that is not meant to reflect on the characters' moral codes or the way we perceive them as sympathetic or not. Shadows is not working within the boundaries of 'trying to set an example that all of society should follow' lol it has literally never been that kind of show. it's a show for adults (though that's not to say younger people can't watch it ofc, but it's helpful to understand who this show is written for) who understand and accept that these characters are not role models of how real people in the real world should behave, its a fun comedy about a supernatural world where just about anything goes. the entire point is that the main characters are all a little bit toxic and 'morally bankrupt' to a degree, at least in comparison to the ethical standards that tumblr holds its fictional characters against normally. again tho, none of that is meant to lessen our sympathy for and investment in the characters and their relationships with each other, or lessen our desire to see them succeed and be happy. that has always been the deal.

are we meant to criticize and/or care less about Sean's friendship with the vampires because they were going to (albeit mercifully) rip his head off? Because they over hypnotized him? Because, as vampires, they have an inherent power imbalance with Sean, as a human? no, of course not, because that's not what the writing of this show is leading the viewer to do.

and yes, admittedly this is a little frustrating to see for a pairing that is breaking boundaries and expectations of what we normally see with queer mainstream representation; it feels as tho we're holding a pairing of two non-white queer men to expectations that, frankly, I hadn't seen anyone in the show held to within fandom before. why now does it have to matter that everything is textbook ethical? while i don't think it's the intent to be regressive, that's still kind of what's happening here imo. gay poc men are allowed to be fucked up in shows too sometimes.

the show is not meant to be rubric for real life behavior. while we are meant to love and root for the characters and their dynamics with each other, it is understood that Shadows is not romanticizing anything into a unironic example of 'healthy irl person' / 'healthy irl relationship'. that romanticization of unhealthy behaviors in fictional narratives is why we have these discussions in the first place and shadows isn't guilty of that for the reasons I listed above.

i mean whatever obviously people can have whatever discussions they want lol, I just had to get this off my chest as I'm already seeing the posts here and there about ' why n@ndermo is problematique ' and lest i throw myself into the abyss i just had to whine for a second on an untagged post.

#im not tagging this #bc i don't actually want to like debate it lol i just wanted to vent #so please don't try to engage me in discussion or argument about this thanks <3 #i know what i said and im right bless

9 notes · View notes

obsessivelollipoplalala · 3 years ago

Note

cw: a long ask, im sorry

fr when will people realise people are never perfectly ‘Good’. there are bound to be things about everyone that you disagree with, and that’s just life. people like this i feel are just doing the whole ‘out of sight out of mind’ thing like ‘oops this person did this horrible thing and is now Tainted so i need to dissociate myself completely from them because i am a Good Person and that means i surround myself with 100% Purely Good things and people’ to make themselves feel better because no one likes to think of themselves as Bad. but the thing is no one is completely Good. closing yourself up and pushing anyone who doesn’t fit your ideal mould of what a Good Person is away doesn’t really make anything better, and people like this will get a massive reality check once they get offline and go outside where very real, very fallible people exist and do and say all kind of shit. ALSO i think people do this as an excuse to not think critically. putting Problematic people or media away in a box and refusing to ever engage with them is just an out for people to not think about them critically in a multifaceted, distanced way, so they don’t need to confront anything uncomfortable or any unpleasant feeling, like guilt, shame, embarrassment, being shunned from other ‘purity culture’ believers, feeling like a bad person like i said above. like it’s okay to enjoy certain aspects of a piece of media or like a certain person, while acknowledging their faults and shortcomings, and discussing them without resorting to a complete expulsion OR going idonotsee.jpg and pretending said thing or person is perfect. of course, this doesn’t apply to ‘stanning’ people like abusers, actual bigots that make ‘fuck immigrants’ speeches etc, rapists etc.

and what’s considered ‘pc’ literally changes ALL THE TIME. what used to be ok and normalized like a few years ago are now problematic. e.g. doctor who was considered one of the more progressive mainstream shows like 7 years ago, it was praised for being forward thinking inclusive and diverse, and now people tend to be way more critical of it (not saying that’s a bad thing). another example is glee - there wasn’t really another show back then that reached the level of gp viewing figures, entered mainstream pop culture and discourse AND featured storylines and characters that weren’t predominantly white, cis, straight and abled. but now of course it’s seen as a big ball of yikes in 2021. society’s perception of things change all the time because dominant ‘trendy’ schools of thought that enter mainstream discourse are changing constantly.

the best thing in the original article of that brian interview is: ‘The young people who are doing this will find that the same thing happens to them — people will be calling them out and they will be bewildered. I just pray for more understanding between us.’ regardless of what else he said, this is SO TRUE. things we consider good and normal now could very well become problematic in the future.

These things are difficult. They really are. Treating people with basic human respect isn't, but the nuances of society can be hard to keep up with. I do think there are things which should be deal breakers, such as hate crimes and domestic violence (like you said, abusers and people with like "fuck immigrants" speeches), so I'm not a person who think no one is good or no one is bad, but being a good person =/= being a perfect person, because that doesn't exist. I agree that a big problem online (and this is what I'd call "purity culture") is people thinking they'll be considered Bad by association if they like people or things with problems. I think this is why people cling to "at least Roger and John aren't problematic!" despite that not being true, because they still want to like Queen and not be considered Bad, and want everyone to see how Good they are by disowning Brian. It's as you mentioned. It's very performative, but I think it ties into the fear of being called out, which was what Brian was very clumsily talking about. It's just that some people are like, suddenly years of quotes from Brian on supporting the lgbt community don't matter because of this one article, but oh Roger wore one (1) shirt that said "protect trans kids" so that means he's unproblematic!!...Really? That's silly, but it makes sense if people just want to cling to faves who will make them be seen as Good.

Yes, yes yes to your point about people doing this so they don't have to think critically. It hurts when otherwise-decent people say harmful things, and reckoning with that is a lot harder than disowning them. This goes for online and real life, though of course, no one's obligated to like anyone. Confronting that heavy weight in your chest when someone says something hurtful is unpleasant. But it's better than putting your fingers in your ears and acting like everything that person does must be evil now, and it's better than ignoring what your faves have said because it makes you uncomfortable. Relating to Queen in particular, I've said it before, but none of them were woke. There are certain things they've been accepting of for their time, but Freddie Mercury was not perfectly enlightened. He really wasn't. I hate to say it, but they all agreed to Sun City, folks. Remember that? The idea that Freddie would be horrified by Brian--which is a take I've seen on here and twitter--is projection. I'm not saying people can't be hurt by something x celebrity says, but you know.

Yeah, what's considered progressive naturally changes with time. DW is an example, sure, and I've never seen Glee lol. But the point remains. We do have a responsibility to keep up with how things change, I think, but man, there are certainly things I knew nothing about just back in high school.

That's the thing...I dislike some of what Brian said, and how he said it, but he wasn't entirely wrong in the full context of the article. He's also been on the receiving end of harassment and death threats on social media when he's said something tone deaf, so you can see why he'd feel like people nowadays can go too far with calling others out. We all know this is a thing that happens; whether you think people go too far in a given situation varies from person to person, but we've all seen this stuff. And look, I think this interview warrants criticism, but people acting like he's a hardline conservative when he's anti-Brexit, against Johnson, Trump, and celebrated Biden-Harris' win is just not the full picture here. We can criticize him with accuracy.

#sorry if i rambled #long post #i'll risk tagging this #brian may #queen #replies #Anonymous

5 notes · View notes

spiritualgateway · 4 years ago

Text

We are not impressed

wiritten by Steven Black:

Welcome.

This is mission control. We come with greetings from home and some thoughtful words. When we wrote you in the manual to act like natives on Earth and act just as narrow-minded, alarmist and ignorant as the majority of this planet lives, we did NOT mean this to be a permanent condition. It was only meant to allow you to pass as natives and be accepted as the same. We brought you, the troublemakers and rebels of the universe on board to kick the butts of the powerful on the planet hard, get things moving and wake up the sleeping majority rudely.

You've done a wonderful job of that. We are pleased about that. However, we are not impressed by the fact that a lot of you have been treading water ever since, doing nothing but creating more excitement and spreading some sensational information. No, folks. There was nothing about this in the manual and it wasn't planned that way. Seriously, we are not amused.

A few of you are running around proclaiming, "look, the end is near," and other participants in the cosmic plan suddenly desperately want to be Germans, Austrians, or whatever, and are indulging in national small-mindedness.

Hello, seriously now?

At the beginning some of us found it funny to observe beings, which were always known in the universe for expansion that they were suddenly occupied with shrinking and decreasing. Meanwhile, we don't find it so funny anymore. We find it quite exhausting. Like, by the way, some of the other things you fabricate there on Earth.

For the majority of the planet it is an accustomed, acceptable condition to see themselves only as receivers of information. You can just slap everything around their ears. And it is considered completely normal to simply pass on any information, no matter how negative and fearful it may be. They however should know that they are receiver AND transmitter of information. Please use your consciousness and your mind in the future, when you receive negative information again, before you simply pass it on. That is what a mind is for. You use it. Please be aware that any information should be checked for validity and sense first.

Further, make sure that what you want to pass on is really useful and helpful to other people. As a sender of information, you have a responsibility. Ask yourself, is this really the kind of energy I want to send into the world? It's not about not giving criticism. It's about examining that criticism for validity and usefulness. What is of no use to anyone is a waste of time - and energy.

Whether something is true or not cannot be evaluated by internet. None of you know the people behind who spread such information. You know neither their motives, nor the personal backgrounds to judge something like that. And the anonymous sources they refer to - well, the mainstream media work the same way. They know that, "close intelligence circles said, blah blah blah." Meanwhile, the "alternative media" is starting to work the same way.

Anyone can claim to care about humanity, the people or whatever. Most of the time other interests are at the forefront. Their predictable reaction when they believe this is fear, resistance, powerlessness, anger, hatred. It lowers their personal energy vibration to a little light that may just be blinking.

Did you know that there are more and more "social bots" in your so-called "social networks"? These are small programs that collect and spread information, especially used in political discussions, but also in sports and dating portals. Various political and economic interest groups use this tool to create the "right mood".

The postings are attributed to real people, but in fact various "News" are generated automatically and by machine. These social bots are so adaptable that it is almost impossible to distinguish between human and machine. At least not if you don't bother to check these "news".

Today, hate propaganda and xenophobia is often created by software and scattered on the Internet. There, this "fake news" meets people who, without checking, simply believe it because it seems to fit with their worldview - and off it goes, creating shitstorms. Be very clear about this. Just because something is possible doesn't mean it has to happen. But it can happen if you are not aware that your reaction serves the interests of power groups that are masters in creating enemy images and are very adept at turning people against each other.

There is a war going on on your planet for the information interpretation sovereignty, because "the power behind the throne" is fighting for its survival. Hereby it is tried to direct your attention and to areas which are far away from your personal life. Population management means arousing fears, reducing positive energies, injecting powerlessness and victim consciousness, and psychologically overwhelming the citizen in order to channel a reaction of anger, indignation, rejection. If consciousness has been successfully directed to a situation with a lot of information, some of it contradictory, and the individual is confused, the desired reaction occurs.

Stirring up trouble and waking up are only a tiny part of the multi-step plan, the main part is that you come back into your full power and demonstrate to the earthlings how to radiate from within. You seem to have completely skimmed over this chapter, or, knowing you, you didn't read it at all. This is bad. For us and for you. Not to mention the majority of the planet. All this 3 D actionism is starting to worry us. We get the strong impression that some of you are stuck in the middle of the process.

You are just repeating the information education that we started since the 1990s. All the information about the elite of this planet, mental manipulation, pharma, military, politics, wars, etc., served a purpose, but really should not be used for you to go here and point fingers at the supposed bad guys. Nor should you fight against them. We were hoping you would see the bigger picture in this. By processing the information given and really getting the point in what it's all about - which is you, personally - and realizing how the planet is controlled so YOU could stop falling for it and raise your personal vibration. Okay, didn't work so well, at least not for many of you.

Please try to understand that the power behind the "official power", basically profits from hatred, anger, powerlessness, even if this hatred may be directed against them themselves, or various political, economic interests in which they have invested and are involved. Because anger, fear, rage, hatred, powerlessness, victim consciousness and helplessness are very low vibrating energy fields, the more people are stuck in it, the bigger the field and the easier it is to maintain the "status quo" and carry out their plans.

The fear of a world war and/or an irrational religious war of course works very much into their hands. This is how the old energy works, always has and it is now fighting for survive. Scattering fear, uncertainty and doubt are a powerful weapon in the hands of those who for millennia have power over the planet.

In the course of the further step ignition it comes now to the intensified dissolution of your energetic barriers, within their multi-dimensional bodies. You have probably already noticed that they are becoming more permeable. That is why these fear-inducing messages have such an impact on you. And if you do not make an effort to clear your emotional body, you may not succeed in overcoming the low vibrational fields. Because these go into resonance with repressed and hidden contents IN your own consciousness and your emotional field.

You are here to raise these fields. Since we cannot need energetic blockages, or various subtle constructs that block the energies we send to your material body and Mother Earth through YOU. Because if you are not free of these blockages, the soul parts and energies that we send to you for support keep coming back to us. We send in, it comes back. We send in, it comes back. We find this annoying, constantly operating in repeat mode without getting anywhere. So please, finally take care of it.

We are very aware that you are tired and very disillusioned. We told you at the beginning - going to Earth is one of the hardest jobs in the universe. But we also know you can still do it, and you will. Apart from that, unfortunately, there is no alternative. There is only you. You are all we have and we put all our trust in you - still, because we have no other choice.

While the denial of the facts staggers along its peak, the biosphere contains less and less oxygen, the food is enriched with more and more toxins and the ecological balance mutates to a term that mocks every serious description. However, there are no other special forces which we could send to mankind to hold it back from the abyss of self-destruction. They are on their own. You all knew this before and now we remind you again of the briefing that you found so boring.

They were so full of themselves and thought it would be a piece of cake to take care and clean up on Earth. But the 3 D Matrix had them all under its spell. Unpleasant surprise, isn't it? In our experience, it takes a good 30-50 Earth years to fight your way through it. We gave you that time, but believe us - if you had paid more attention during the briefing and read the manual or at least just the emergency edition, you would have been spared a lot. Hopefully, that will teach you a lesson for the next time.

Please be aware, we need you! Mankind needs you, the earth needs you. And we have heard your personal calls for more help, which you sent to us on behalf of the people. But since this is probably a big misunderstanding on your part, we would like to remind you of another section of the briefing:

YOU are the help you are calling for! You and all other suicidal volunteers ARE the help we sent!

Pretending now that you are not in charge and hoping others will do the job will not look good on your leadership record. And demanding that God finally step in and fix this problem (yes, we heard that exactly) gives some of you an even less appealing report card. People caused the problems, people need to solve them too. Besides, God is at present fully occupied with the re - organization of universe and the creation of new codes and must not be disturbed (HE has given us personally to understand this).

You are on earth. You are responsible. You wanted the job and YOU also got it. So you make now obligingly something halfway reasonable from it.

Your present reality on earth looks honestly quite shitty. And that is actually good and wakes you up. There are truly more uplifting images we can imagine than watching a world afflicted by madness, whose social, economic and political world structure is falling apart, die. But that, of course, is what it's all about - dying. Your old, familiar, accustomed world is dying and there is nothing you can do about it. But many of you still try to stubbornly hold on to the old reality - and stop the dying process.

Things are changing, sometimes tremendously and in ways that none of you can oversee. However, you can help shape the way it happens. How chaotic it becomes is entirely in your hands. Some helpful points in this regard, for your kind attention:

Keep a little distance from the free will of others and tame your spiritual ambition. Or best of all, direct the energy of your ambition toward the avoidance of spiritual ambition.

If someone is desperate to spin the wheel, don't stop him. Cheer him on, because only a crash landing will bring him back to his senses.

Please give up your remaining victim attitude and switch into the responsible creator mode. We certainly understand and know from our own earth experience how difficult it can be to discard cherished worries and various notions of how small and helpless you are. It's so terribly convenient to rant about everything and name culprits, there's no need to get off your own butt.

Spread courage and optimism, no matter how little it may seem to be justified - but appearances are deceptive, they are always blinding. NOTHING is as it appears to be.

Please stop trying to dissolve your ego. Instead, see to it that you get a reasonably sane ego that is at peace with itself. You cannot dissolve your ego, you can only split it off. And that is not something we would like to see in you. "The ego" is your vehicle through which you were able to have an experience in the first place.

Please do not pretend that you are invulnerable and untouchable. What is happening here hurts, allow that pain. Meet the shadows inside you, integrate and digest these inner shadows. This will hurt, real shadow work breaks you open. This is a good thing and prevents the pain inside from forming into a weapon that turns against you.

Stay with yourself even when the world around you seems to be going crazy. Sweep outside your own front door, there is plenty to do there.

Rise above the low fields and try to wring something good out of your life.

Never forget that you are a star child who has successfully completed this task in many corners of the galaxy. Earth may be a particularly stubborn nut to crack, but you will crack that nut. In any case, giving up is not an option. Please pull yourself together and hold out, that would be even nicer.

Come on, impress yourself! Show us who you are and please stop playing the tourist!

Written in the style of E.T. 101.

Nothing you read here is THE truth. It is my truth, my perception and how I see things – now, in this moment.

Until next time same station ..

THE INFORMATION SPACE

#spiritual

16 notes · View notes

blackswaneuroparedux · 4 years ago

Text

Anonymous asked: Do the intellectual elites basically set the direction of how society thinks? Over the centuries, the general public has followed philosophical trends in the academic world so how do these beliefs and academic theories filter down into the mainstream? Is there anything we can do to stop it?

It may seem like in our current turbulent times that the elites do the thinking for the masses. And if one stands back to look at the flash points of intellectual history that indeed feels true. But equally one can stand back and ask critically if this is really so?

Who are you actually talking about? Who are these intellectual elites? I dislike these generalisations because they are unhelpful. How does one define elite? Is it intellect? Is it cachet of social position? I think our so-called university elites - professors etc - are in their own existential crisis because of how commodified a university education is becoming. They are beholden to students as consumers. It’s a worrying trend.

Of course it didn’t use to be like that because then our intellectual elites had both recognised intellectual prowess and a social cachet. In other words they had power. I think the modern day academic is many ways a powerless and even pitiful figure at the mercy of university managers and money men.

Nor do I think one thinker dominates over others as they might have done in the past.

A case van be made that ideas today are democratised. Power resides wherever their is a vacuum. It doesn’t reside in the class room but on social media.

In our more recent times intellectual trends like post-modernism and now social critical theory have been seeping into the mainstream. Even Donald Trump has brought up critical race theory to the wider watching populace as a beating stick over the left.

But many ordinary people would be hard pressed to name the actual thinkers (outside of just lumping people together as an amorphous mass e.g. cultural marxists or far right conservatives). It’s more true to say that all ideas now fight in the market place of ideas as a product for people to consume blindly.

But why one idea takes off and another doesn’t is something I don’t have answer for. Or where is the point where ideas from top down meet reality from bottom up and create some kind of intellectual and social momentum? I don’t have time to get into that here.

Another thing is that like an MP4 download the compression size of the complexity gets eroded the more it is downloaded and passed around. In other words people start arguing over labels and top line arguments than actually grapple with the deeper and more complex ideas contained.

This isn’t to say there are no problems with such theories - e.g. critical race theory - because there are. For the record, I am hostile to such philosophies as a Tory as I am towards many lefty isms plaguing the modern university campus that find their way into the public square.

Rather than attack the messenger (ie people) one should critically examine the arguments from every side. This is true for any theory and wherever it comes from. We engage ideas not people.

I don’t want to sound like a broken record so let me play devil’s advocate and suggest an alternative if only to muse upon on it.

I was having a stimulating series of conversations with a professor of intellectual history and other academic historians and political scientists from prestigious French institutions at a friend’s dinner party not so long ago. Like any French dinner good conversation is expected along with good food and wine. Arguments are meant to be robust and even heated but never personal. Arguments are won as much by charm and wit as it is by intellect. It’s all very convival and civilised.

Anyway, we touched on many things from the sorry state French politics, Brexit, Trump, and Covid of course. The usual stuff I imagine. But because of who was around the table the discussion enjoyably explored much wider issues.

For me it’s always interesting to hear the premise from where people build their arguments. For the left secularist the Enlightenment becomes the cornerstone from which the lens of history is viewed and interpreted. For the conservative it’s anything before the 1789 Revolution. Both actually looked at change and the ideas therein as from top down. The ground up (or the view from below) was given short thrift.

I suggested an alternative premise more from a playful motivation than absolute empirical evidence - if only to liven things up a little as the conversation was becoming stale and even predictable.

Perhaps the direction of influence could also be seen the other way round? That is to say that philosophical theories formalise and develop ideas that are already in circulation in society and culture.

Did you get that? Let me explain.

Remember Hegel's beautiful and profound observation that 'the owl of Minerva spreads its wings only with the falling of the dusk. In the words what Hegel was saying was that philosophical theory comes afterwards, reflectively, when a development of ideas or institutions is complete and (he would add) in decline.

Plato's 'Republic', at least its political portion, was as the late Michael Oakeshott once put it, 'animated by the errors of Athenian democracy'. Any citizen could participate in politics and help determine policies and legislation without any knowledge of the relevant matters. Plato saw democracy as the politics of ignorance. If every other human inquiry or activity recognised expert knowledge - in his famous example, you wouldn't let just anyone, regardless of their lack of specialist skills, navigate a ship - why not politics, too ? Why should politics be special in not requiring knowledge of the proper ends and means of political action as a condition of participation. Think of this what you will, but the 'Republic' was rooted in its contemporary context and was a response to it.

Aristotle's 'Politics' is a theorisation of the Greek polis, which was already passing out of independent existence under the impact of Alexander the Great's conquests. Athens was a city-state, and a democracy (albeit a limited one). Even though Aristotle was not born in Athens his views were accepted until he was shunned after the death of Alexander.

Aquinas' 'Summa' was a response to the recovery of Aristotle's writings and to the ongoing beliefs and practice of the Catholic Church - as well, of course, to movements which he opposed in theology.

Hobbes' 'Leviathan' is clearly a recipe for avoiding the kind of political and social chaos caused by the French Wars of Religion and the English Civil Wars. They were in his rear-view mirror when he wrote his tome.

Hume's 'atomistic' view of the nature of experience as composed of distinct impressions and ideas drew on the model of Newtonian 'corpuscular' physics.

Kant's Critique of Pure Reason asks how knowledge is possible, with the glories of Newtonian physics in the background. His emphasis on the place of reason in ethics is fully in the spirit of the Enlightenment's celebration of reason.

John Stuart Mill's 'On Liberty' was a counter-blast to the pressure toward conformity which he thought he saw in the England of his day.

Logical Positivism was a response to the huge, brilliant developments in science - relativity and quantum theory - and took the form of scientism, the view that scientific knowledge is the only form of deep and accurate knowledge (of all real knowledge).

Marxism was a response to the embryonic birth of the modern capitalist system after the industrial revolution in Britain. Both Hegel and Marx formulated their theories by what they observed was happening with the birthing pains of modern industrial capital society. Cultural Marxism is a different beast entirely.

I could go on.

I am not suggesting, of course, that there was anything crude or mechanical in the way these philosophies emerged from their contexts. They all added independent thought of great subtlety. But their problems and the terms of their solutions were set by their times, at least as they understood them. It’s plausible but may not be completely true. But that’s part of the enjoyment of musing upon whimsical thoughts without the conceit of being certain.

Anyway something to think about.

Thanks for your question.

#question #ask #hilosophy #ideas #society #ideology #culture

31 notes · View notes

thejakeformerlyknownasprince · 5 years ago

Text

How To Get Into DnD in 10-ish Easy-ish Steps

Cates here. I just wanted to add my thoughts about joining or starting a DnD game for the first time, as someone who’s been there, done that, and still can’t calculate Rogue Sneak Attack damage to save her life. It can definitely be intimidating entering the world of DnD, but for me the best thing about DnD is running around with a group of people who would literally take a sword in the gut for you. Find a supportive and welcoming group (or start one!) and you’ll be fine.

(Note the “easy-ish” modifier in the title. If you’re a hardcore DnDer who thinks that 5e is a travesty and we all should have stuck to 3.5e, or if you’re the kind of person who gets annoyed about DnD suddenly being “mainstream” and “popular”…chances are some of what I’m about to say will make your eyeballs twitch.)

1. Use other media as a way into understanding DnD. My absolute number one recommendation would be to see or read the play She Kills Monsters by Qui Nguyen. Not only is it a beautiful send-up to nerd culture in general and DnD in particular but because the main character is playing DnD for the first time, it actually provides a decent overview of the mechanics of the game. Another entry point is, of course, Stranger Things—the first season in particular establishes a pretty solid picture of what playing DnD is like.

2. From there, find a podcast, YouTube channel, or similar where a group plays DnD, and watch to get a sense of how things work. Film Reroll is fun but that’s GURPS, a different system than DnD. The Adventure Zone is another good one. By far the most popular is Critical Role. I personally don’t care for Critical Role (put away your torches and stink bombs, please,) but it seems to work for other people.

3. Purchase (or check out from your local library,) the DnD Player’s Guide, 5th Edition. (The most current edition.)

4. Now that you have a sense of how DnD works, find a game. Bug mentioned some good avenues, like comments sections on Podcasts. To that I’d add check out Reddit subs, Facebook groups, and your local game store if you’re lucky enough to have one. Most game stores have resources for finding parties or even host games at the stores themselves.

5. Another option: get together a group of friends, form a party, and stumble your way through one of the early level adventures. If no one wants to DM, do what my second party* does and rotate DMs. We each take turns running an adventure, and while each of us does so our character is off on another quest/on vacation/bringing goblin corpses back to life/etc. Ideally, you’ll have at least one person in the group who has some experience with DnD, but if you don’t…so what? The internet is an endless bounty of information. Some of it is even accurate!

*As opposed to the one I’m in with Bug where I’m the permanent DM.

6. Figure out what you want from a game of DnD. Are you there for the complicated character backstories? Does the complex system(s) of magic fascinate you? Do you want to be like Legolas from LotR, or like River from Firefly, or like the Incredible Hulk? This will help you get a sense of the kind of character you’d like to play. Some people will wildly disagree with me, but here’s my rough-and-tumble ten second mini guide to figuring out your class as a first time player.

Want to be the smooth talker, the one who gets info from the local bartender? Be a bard, or a rogue who leans into Charisma instead of Dexterity.

Want to be really useful/involved in combat situations? Be a barbarian.

Want to use magic? Be a cleric. Your team will thank you. If you want a more “hardcore” magic class, go with sorcerer over warlock or wizard.

Want to come up with unusual solutions to specific problems? Be a druid.

Want to be sneaky? Be a rogue or a ranger.

Want to be some combination of the above/figure it out as you go? Be a fighter. Fighters get overlooked as a class because they seem so generic, but that’s actually the advantage of playing one. It’s so broad you can pretty much do whatever you want with it, taking on just about any of the roles I listed above.

7. Keep in mind that to set your party up for success you’re going to want at least one of each of the following: a healer, a magic user, a ranged (long-distance) fighter, a tank, and a talker. Now, this doesn’t mean you need a party of five, because one character can take on multiple roles. For instance, in the game where I DM, mine and Bug’s brother plays a character who is the party’s main talker and their main magic user. We also have a healer who can be a tank when needed. Basically I just wouldn’t recommend that you have a party consisting of a wizard, a sorcerer, and a warlock, or a fighter, a barbarian, and a monk. Cover different areas of expertise and you’ll have a happy and harmonious party that actually stands a chance of surviving their first combat.

8. Resist the urge to use unusual races or classes for your first game. Trust me when I say that you’ll have so many other things you need to work out, sorting through a class or race that isn’t clearly outlined in 5e is a headache you don’t need. More to the point, it’s a headache that your DM doesn’t need. The amount of work that goes into figuring out how to give an unusual class or race a good combat experience (ie, one that doesn’t kill them and one where they don’t kill all the enemies with a snap of their fingers) is a ton of work…and that’s only one aspect. If you really want to be unique, look at the subclasses and subraces. There are some delightfully strange varieties in there.

9. Similarly, for the love of the Ellimist make sure everyone is clear on the goal of your standard game of DnD: you are a party of adventurers. For the game to work, you need to, for whatever reason, work together. Keeping a whole bunch of secrets from your party, excessively lying to your party, and going against the party’s goals are all ways to make the game waaaaaaayyyyyy less fun for everyone involved. This doesn’t mean that you have to be an open book, but keep in mind that is a COLLABORATIVE, not COMPETITIVE, game. Save the trickery and theft and all for the monsters your party will fight. For instance, in my first game I played a gnome who was disguising himself as a woman because he was on the run from a sorcerer who’d kept him enslaved. He lied about his gender and his name and was vague about his backstory, but he didn’t tell any lies that were aimed at getting a leg up on his party members. Eventually as they bonded he came to trust them and revealed his past, and the party helped him disguise himself as an elderly dwarf so they could take down the sorcerer (it made sense in context : ). Tl;dr: work with your party, not against them.

a. For all my “well, but in my party…” friends, if your game features a bunch of cutthroats all trying to assassinate each other, or if your character was secretly planning on murdering another player’s character for Reasons, that’s fine. All I’m saying is don’t do it in your first game, or you’ll never get off the ground.

10. Within reason, ignore the minutiae. Don’t worry too much about money, food, or how much weight you’re carrying. (At this point I’m assuming some of my hardcore DnDers’ eyes are popping out of their heads.) Again, note that I said within reason: this doesn’t mean that you can take whatever kind of weapon or armor that you want, and you shouldn’t have a never-ending supply of arrows, nor should you be able to purchase that super rare artifact. But if you focus too much on this stuff, you’ll have a hard time getting anyone (yourself included) invested in the game. If this sort of hyper realism appeals to you, add it in after a few sessions. But give yourself a break at the start and don’t roleplay every afternoon tea.

Remember, a good DnD game is a game that you enjoy playing. A good DnD party is one in which the characters AND the players respect each other. Don’t metaphorically or literally split the party, and you’ll be fine.

#dnd #asks #answers #there ain't no party like a dnd party #dungeons and dragons #d&d #rpg #tabletop games #dnd 5e #nothing to do with animorphs #text post #beta takes the box

177 notes · View notes

katieqnmr · 4 years ago

Text

reflection - portrait of a drag king (representing the real)

Below is an informal reflection, I just wanted to get some words down. Beneath that is my formal, assessed reflection. I just put them in the same post because I think they’re both valuable!

INFORMAL REFLECTION

before we had the critique session, I wrote this:

Onto the finish! As we close on this project, I have some informal reflections to make. I would firstly say that this project has been a really calming one. I realise that for me, my role (visual director, animator) was not too demanding. My group has been outstanding, and I am just so proud that we have worked so well even when hundreds of miles apart!

ROLES AGAIN:

Natalia - Visual director (and principal director)

Myself - Visual director, animator

Rosie - Editor

Bethany & Rosie - Cinematography, B-Roll shooting etc

I was able to do the animation for this project, and Natalia and I did visual directing (though she was principal director!) As I was saying, this has been relaxing for me because I’ve been able to somehow (!) insert my love of art and sketching into this project! I animated a number of elements, and I think they nestle in just right with everything else. :) I would also like to thank Mia, the Drag King who we interviewed. She has been so helpful and eager and honestly, entertaining throughout this whole process! The way she speaks is a delight to listen to (a very useful element when making a documentary), and she seemed so at ease in front of the camera. She was super helpful the whole way, offering to film anything for us, and more importantly letting us see quite a private side of her, or perhaps quite a personal side. Identity can be uprooting to share with others, so I’m really grateful she chose to share herself with us.

And now I can reflect fully, with all feedback on hand.

And WOW am I happy! The feedback we received on this project is probably the most positive for any project I’ve been involved in, which is such a lovely thing, everyone seemed to genuinely really enjoy it! :D Mia also said she loved it, which meant a great deal. I know we were a little nervous for her to see what portrayal we’d made of her.

FORMAL REFLECTION (CRITICAL ASSESSMENT REPORT)

Throughout the research stage, I tried to find material that would enable me to greater understand the world of drag, as I was not entirely familiar beforehand. I used a range of materials, from books, to articles, to films and TV shows, (examples being ‘The Art of Drag’, ‘Gender Troubles’, and of course Ru Paul’s drag race, for a more mainstream approach.)

I wanted to explore each media to reflect on what might work in presenting a character through documentary, and early on, our group decided on a rougher, 90’s aesthetic, bright colours, and an energetic pace, which would capture Mia’s personality in part, and form a visually engaging base for the documentary.

We planned across the country, deciding that Mary and Bethany would together or individually shoot Mia, as they live close to her in Dundee, thus assigning them the roles of cinematographers. The rest of our group, Rosie, Natalia and myself, would be the editor, and visual directors, respectively. Our pre production plans relied on group meetings where we could discuss the basic outline for the edits, and we were all of one mind in this project. We all agreed almost effortlessly the direction it should go in, in terms of the aesthetic I mentioned earlier, subject matter (drag kings, gender and identity), and how the edit would be arranged, (a mixture of b-roll, Mia’s sketches and my animations layered on top, her interview and poems running throughout).

All arrangements were simple, though a few shooting days had to be rescheduled, which wasn’t a problem as we planned with plenty of time, and additionally the extension was helpful there too. Natalia and myself as visual directors, were clear in our plans for what would be shot, we collated a list of basic shots we wanted in the documentary, which Mary and Bethany fulfilled perfectly. The shoot went great, and Natalia and myself transcribed the entire thing (though she did more than me), and then we moved onto Rosie’s stage, the edit.

Rosie was a fantastic editor, communicating really clearly with us so we could go back and forth between draft edits and all together decide on the best structure of the film. We dispersed Mia’s poetry throughout, and Rosie edited the desired aesthetic fantastically, using my animations and Mia’s own drawings in harmony with the footage shot. The structure was also based on Mia’s history in performance, her thoughts on a fractured identity and how she presented herself to others, and her reflections for the future, as she said she’s still trying to find her ‘yearning’.

Our focus was always going to be Mia, her identity and her struggles with that identity. The documentary sort of branched from ‘drag king’ to ‘identity of drag’, but it still maintained that Mia’s identity was formed partly from her drag.

In terms of sound, we didn’t focus too heavily on it, which is maybe a thought for the future. It might’ve furthered the effect of our piece, though I am glad we didn’t add any music, as with all the visuals on-screen, I feel it would’ve been overwhelming at best! With more time, we might’ve considered adding Foley, in terms of paper scrunching, or the jumper muffling sounds, but our time limit caused us to focus elsewhere. Luckily I don’t think it’s too much of a dealbreaker, and is something to consider if we move further with the project. We also forgot to add credits at the end, but that would be an easy fix.

I have no doubt that our film is engaging, only the pacing was considered an issue, which I can totally understand. It is very rapid-fire, although arguably this was appropriate, (though this was not intentional) given that Mia herself felt overwhelmed by her fragments of identity. Our group all felt that the edit was the correct pace throughout the development stage, so I don’t think I would change much.

I learned so much from this project, more so than any other so far, in terms of the subject matter (I feel so much more knowledgeable about the art of drag now), and I also learnt a lot about collaborating, which I think our group did immensely successfully.

Mia later told us that she really enjoyed the film and that she felt seen, and she was the person who I really wanted to feel happy about it. So I would say that it was a success. I think the film illustrates Mia’s nuances, and her intelligence, and it showcases her ability to articulate these things. So I am very pleased, and so proud of everyone involved. Thank you Mia.

#representing the real #portrait of a drag king

2 notes · View notes

beautybranding55 · 3 years ago

Text

Artistic Beauty Branding

Concrete created BITE’s strategic positioning, brand story and model identification. The fashionable lipstick caps – created by the Vienna-based agency EOOS, reflect the person ways ladies apply lipstick. These parts gave BITE open-shelf appeal, drawing the attention of searching consumers who would then “discover” the product’s distinctive natural ingredients. Bare and Bloom Naturals is more than simply an all-natural tub & body company, we are a holistic wellness and life-style brand.

With a reputation like this, you’d expect the wonder model to be cruelty free and environmentally conscious. Bareminerals is all of those issues, but their web site provides an even higher perception into their brand’s commitment to particular social points. And if your precise line of merchandise doesn’t cover all of that, not to fear. Your web site is a superb platform to begin a dialogue about all beauty branding matters and, who is conscious of, maybe a while down the road you would possibly begin producing a line of magnificence products that you simply by no means considered.

Beauty products are huge enterprise, but you probably can afford to be playful and personal together with your marketing. 2) Consider the services or products you supply and think about what makes your offerings totally different from those of your rivals. If you offer a particular service that nobody else does, you may focus on that in your advertising.

Your brand is the face of your organization and something that individuals instantly associate together with your magnificence beauty packaging brands. Although there’s an countless number of intelligent ways that you can symbolize magnificence products in your emblem, in this industry, simplicity can be a unbelievable choice. One major element of brand strategy is establishing the model attributes of your beauty enterprise.

And she has carried out a killer job of developing a robust personal brand, especially on Instagram. She retains her private account separate from the salon’s account, but her personal account is the place she goes to express her style, her ideas, and to speak real speak. But if you're critical about rising your career, and especially when you personal your own enterprise, it’s extremely important to take serious care of your private model. A brand experience is a strategic journey consisting of the entire experience folks will have together with your model. The journey — from not knowing you exist, to purchasing from you, to exhibiting you off to their pals — is made up of a sequence of touchpoints.

And one of the simplest ways to do this is share your actual personality, opinions and sure even “messy life stuff” together with your followers. So, are you beginning to really feel impressed about the method to promote your personal brand to grow your business? Keep reading to study 3 powerful however simple ways to search out your unique voice as a beauty-preneur and share it with the world. More than ever, we wish to join with the person behind the business. And one of the most necessary ways to build your private model is communicating online. Any time you talk together with your clients and audience, whether it’s in-person, on Instagram/Facebook, via e-mail, in videos, etc, you're constructing your personal brand.

And “Which printer do I want to produce my own advertising collateral? ” The solely people equipped to answer such conundrums are magnificence insiders who've been the place I’m attempting to go. By reaching out to these folks—through Instagram, e mail, and Facebook teams such as Likeminded Bitches Drinking Wine, and meetups like OKReal and HER Global Network—I gained invaluable perception. A strong on-line presence may help appeal to stockists—so it’s price investing in social media spaces. You will need to work out what an authentic beauty model seems like for you. We collaborate with an array of energetic skills to concept and produce exhilarating creative content material for varied channels and mediums from consumer-facing magnificence property to back-end instructional materials.

For example, a luxury magnificence firm would possibly give consideration to Pinterest marketing as a means of reaching out to the prosperous ladies more than likely to purchase their products. You also need to determine on some advertising ways – specific things you'll do to hold out your strategy. Because the competitors is so intense in the beauty industry, it’s necessary to choose a emblem that can help communicate your company’s mission to prospective clients. For instance, an organization that makes anti-aging merchandise would possibly need to use images of youth to demonstrate its mission.

Our focus is on creating high-quality, natural, and luxury self-care merchandise by eradicating all harmful ingredients from cosmetics, specializing in sustainability at each stage of the supply chain. We have product lines geared in direction of men and women of all backgrounds and ages, in addition to children. Bare + Bloom will also provide versatile and personalised service, with custom subscription presents based on the individual wants and objectives of our clients. Our mission is to assist our shoppers make sustained constructive adjustments in their physical and emotional health, and of their lives general. We purpose to become a household name that folks look ahead to inviting into their properties each month.

Korean brand Then I Met You is owned by Soko Glam founder Charlotte Cho, who intends to maintain the brands distinct in order that they develop seperately. Consumers expect “a clear ingredient story” and sustainable practices as a given for startup brands. Dribbble is the world’s leading neighborhood for creatives to share, develop, and get employed. Bring the Parisian je ne sais quoi to our beauty mobile app Comme Ça is a cellular app that allows users to guide magnificence appointments at house or in-salon in a matter of minutes, hassle free. Biomoxi An authentic and hand-drawn tree for a skincare company. PEAK BOTANICS Formulate all natural, natural botanicals (plant-based products) made in Oregon.

Our strategic course of and shopper insights turn the usually subjective creative process into an objective one. The results have been award-winning, attention-getting, and revenue-generating for our purchasers. Each of our shoppers involves us at a different stage in the brand development course of.

Concrete art directed and produced a video to help the BITE and Amuse Bouche narratives across the hand-crafted, meals grade components with high influence colour. If you have Rhianna behind your brand, you may suspect slapping her name on the field would sell anything from dry shampoo to physique oil. But creating a robust brand is more than piggyback driving on somebody else’s fame exterior the sweetness business.

You will not have the ability to work with suppliers who only ship in huge portions, but you'll be able to see how the product does out there. While the pimples vanished, some gentle scarring remained, so I investigated extra natural fixes and eventually landed on tamanu oil. Also boasting antibacterial and hydrating properties, this oil has been utilized by ladies in Polynesia for generations to assist not simply with acne, but in addition scars. Whatever your goals are, it’s necessary to articulate them so you may make them a reality. It’s a mistake to dive into advertising with no plan, and it’s very straightforward to make a advertising plan that can help guide you alongside the way in which.

An absract emblem for massage center logo for massage heart that additionally sells beauty products . to make the emblem and the middle name associated the shopper needed some particular elements to be in the brand similar to for that i created a circle with some waves within the left and a lotus flower leaves in the proper backside nook . Skin product label and packaging design Logo and packaging design for a excessive finish luxurious brand pores and skin serum product. Amuse Bouche was the first major product launch for the company since its inception.

Fenty was now a major, mainstream model with these shades—and positioned as a high-end model at that. “Having cohesion and consistency reflective of brand identification and mission is essential,” says DeSalva. These three startup magnificence manufacturers have managed to do this, finding white area in a crowded market, in addition to a novel visual identity. Whether you need a new web site design, rebranding, packaging design, or logo design, we will create a strategy and visual id that may assist your small business make a stunning first impression. Contact the Aventive Studio team right here to learn more and get started.

Through skilled photos and behind-the-scenes snaps, she shows us that being a real human being as a enterprise owner, and being vulnerable, is one of the best ways to construct up loyalty and respect out of your clientele. We activate the proper magnificence hot spots based mostly in your brand needs—so you arrive at your imaginative and prescient on the quickest path to the best high quality. See how we used our framework to assist Theorie reimagine their model to create a memorable expertise that aligned their targeted customer with the brand.

We traded their muted, bamboo packaging for a cool, vibrant aesthetic that might set them aside and enchantment to a wider vary of beauty-obsessed customers. “I think that any magnificence brand that launches right now should have a clear ingredient story, except you're a Kardashian otherwise you're Rihanna with Fenty Beauty,” says Lilah b founder Cheryl Yannotti Foland. Lilah B promote multi-use products using "clear" elements, encouraging clients to recycle their old cosmetics packaging.

The frequency of assortment has elevated from monthly to weekly in only a few years, and Lilah b is devoted to continuing the scheme as a cost of doing enterprise. Nothing says "distinctive" like custom magnificence branding designed just for you by a professional designer. We’ve collected some superb examples of magnificence brand identities from our world community of designers.

1 note · View note

strangledeggs · 4 years ago

Text

Strange Nostalgia For The Future – or: Death By A Thousand Taylor Swifts – or: This Is Pop?

Holy shit, when did this article get to be over 8 pages? Sorry everyone, Tumblr isn’t letting me do a cut, so this is just going to clog your feed for a while.

This began as a long-form review of Dua Lipa’s album “Future Nostalgia” with comparisons to the styles of a variety of other pop artists, but has since turned into something much broader and more nebulous. Call it my (incredibly subjective) attempt at defining a current “state of pop music” as it stands in the year 2020.

I’ll admit, I have a bias here, so I’ll lay that on the table: I didn’t particularly care for Dua Lipa prior to the release of “Future Nostalgia”. Actually, if I’m being completely honest, she didn’t really register on my radar until the album’s release, and so I didn’t hear any of her earlier songs until I spent a few minutes on Youtube scrambling to remember who she was and why this release was supposed to be such a big deal. I came up relatively empty-handed, with “New Rules” having more interesting production than anything in the way of a vocal hook and “Be The One” sounding blandly forgettable.

But music journalists were spinning this narrative that “Future Nostalgia” was Dua Lipa’s big moment, her “disco” album, her album full of “bangers” (yes, I know, that’s an archaism at this point, but what am I going to do, call them “vibes”?). We’ve seen hype like this before (at least I have), so we should always take some time when an album arrives with this much fanfare to ask that crucial question: is it justified? Does it live up to expectations?

I’m going to answer that question, but before I do, I want to take a step back and place that music journalism narrative within a broader music journalism meta-narrative that has been slowly gaining traction over the last decade. About 7 years ago (so around 2013), I wrote a guest article for the (what I assume is now defunct) blog Hitsville UK on another meta-narrative called “rockism”, by which older listeners and journalists tended to use to justify their dismissal modern pop music through the glorification of (and comparison to) the canon of rock music. This was not a unique article – many music journalists were writing about this same phenomenon that year; it will likely mark some sort of watershed moment in music journalism. Frequently contrasted with the meta-narrative of “rockism” (not so much in my own article, but definitely in others’) was a countering meta-narrative named as “poptimism”. It’s basically what it sounds like: an optimism that current pop music could be just as good as music of the past, or even better. This was, of course, already known in a lot of mainstream music journalism circles, but it did cause a bit of a stir in independent music journalism, especially since it seemed awfully hard to deny; then-recent examples of indie stars like The Weeknd and Frank Ocean* aspiring to make genuinely great pop music seemed like they were making a pretty good case for the poptimist outlook. Plus, as a new generation of music journalists raised on hip-hop began to cover the genre more seriously, it soon became clear that, given the crossover-laden history of rap, they would have to take pop music seriously too.

Needless to say, poptimism gained a lot of traction as a new paradigm, until it became the default outlook of music journalism by the middle of the decade. It has, as far as I can see, yet to relinquish its grip, and that’s not such a bad thing; arguably, a lot more women, queer people and people of colour have had their music taken more seriously since the shift. Before we get back to “Future Nostalgia”, however, there’s one more piece of this puzzle I want to put in place: coinciding with those early years of poptimism, pop itself hit a bit of a turning point in the year 2014. This was, of course, the release of Taylor Swift’s album “1989”.

What was so special about “1989”? It’s still a bit hard to answer that completely coherently, but it clearly changed the pop music landscape in meaningful ways. For one, it demonstrated that the overcoding of global pop music made at the hands of big-name producers was not just an approach reserved for the “born pop star” figures of Britney Spears or Christina Aguilera. Taylor Swift, formerly a country singer with pop leanings, now went headlong into Max Martin-penned chart-topping smashes, and just like that, she had become deterritorialized. It was a huge success, and, interestingly, one of the first albums that got a lot of independent music journalists (and me) to take her seriously despite being her most overtly commercially-driven. I think this speaks to the power of poptimism in 2014 from two angles: for the journalists, the lesson seemed to be that if someone is already doing something near-enough to mainstream pop and then breaks through with a mass-appeal hit, why not see this as a kind of fulfillment of artistic intent? And for Swift, if you’re already doing something near-enough to what’s playing on pop radio, why not go all the way with it and sacrifice your country “credibility” for the ability to have hits beyond the genre-specific? “1989” marked a turning point at which pop music, formerly seen as something people “sell out” to make, became something you “sell into”, erasing a specific, localized identity that could be exposed as a construction anyway and replacing it with the ambition to conquer the ears of the masses.

I should clarify here, however: there are two possible conclusions one can draw from poptimism. The one I just documented, that pop music as a global/commercial phenomenon can be great and should taken seriously by music journalism, is the more frequently-taken interpretation, but it’s not my preferred one. I would rather the alternative view, which is that most music that people have tended to hear the last several decades, whether marked by the seal of “pop” or not, has been pop music. Rock is a form of pop. So is country, so is hip-hop, so is jazz, folk, metal, etc. We can distinguish between, say, the commercial radio pop – which I’ll from this point on designate as “Pop” with a capital “P” – and the pop tradition, but everything descends from pop tradition in the end, and Pop is just one more subgenre among many, albeit by definition the most popular at its given moment. Seeing that this is pretty indisputably true (and if you don’t believe me, you a) haven’t been reading my blog for long enough and b) have some serious research to do), we might as well take Pop as seriously as any other form of pop and subject it to the same criticisms, while simultaneously adjusting our criticisms of other pop subgenres in relation to our new appreciation of Pop. Who created the texture of this Pop song? Does this metal song have a hook? Is the phrasing in this hip-hop song conducive to its overall rhythmic feel? And so on, and so on.

I prefer this approach because it doesn’t necessarily assume a supremacy of one genre so much as level the playing field to allow for a more robust and less prejudiced criticism. It also doesn’t let listeners off the hook, as many (non-critics/journalists, most likely), given the opportunity raised by the previously-detailed interpretation of poptimism, would lazily slip back into listening to Top 40 radio without attempting to seek things beyond the charts; this alternative interpretation challenges us to try and hear the similarities between Led Zeppelin, Rihanna, Young Thug and The Clash while recognizing what each do uniquely. Unfortunately, it seems like the former interpretation has won out, at least for most audiences, and we now have a listener-base that, instead of keeping their ears peeled for next-big-thing indie groups like Arcade Fire as they might have circa 2008-2012, is content to wait for an already-famous star to drop the next “1989” crossover smash**.

This brings us back to “Future Nostalgia”, the latest in a line of Pop albums that seem primed to vy for that coveted position. There is, however, a bit of a gulf between “1989” and “Future Nostalgia”, and it’s not just because the moment of “1989” and poptimism has already happened. It’s also not because Dua Lipa isn’t “crossing over” from any outsider genre like Swift did with her move away from country – if anything, Dua Lipa is doubling down on her Pop ambitions here by putting them up-front and trying to make this album as blockbuster-signalling as possible. The biggest gulf is the musical one: compared to “1989” (and, I should add, a slew of other blockbuster Pop albums from the last decade, which I’ll get to discussing soon enough), “Future Nostalgia”’s songs are oddly lackluster.

Let’s start with the good, though. On my first listen to the album, I wasn’t completely baffled that critics were hearing something momentous in it. There are absolutely (again, sorry) bangers on this. Ironically, the two that stood out to me immediately were two that I later learned weren’t even released as singles, which might speak to the marketing team’s inability to judge the quality of the music they were handling here. “Cool”, easily the best thing on “Future Nostalgia”, rides a sort of bouncy warping of the riff from Cyndi Lauper’s “Time After Time” as Dua Lipa gushes about how she just can’t control herself in front of her lover; it’s sweet, both lyrically and musically. “Love Again” (no relation to the Run The Jewels song) is perhaps the album’s most explicitly “disco” song with swelling strings and everything, and expresses a similar sentiment to “Cool”, though perhaps from a more reluctant angle: “God damn,” Dua Lipa sighs in the chorus, sounding simultaneously annoyed and amused, “you got me in love again”.

The songwriting on “Cool” and “Love Again” also happens to be some of the most basic on “Future Nostalgia”; the beat loops, albeit with some nice flourishes and rhythmic quirks, and Dua Lipa cycles through a few simple melodies, the catchiest always winding up in the chorus. “Love Again” is practically a blues song with its AAAB-repeat phrasing. I highlight the virtues of this simplicity because it throws much of the rest of the album into a stark contrast and exposes its greatest weakness: many of the other songs on “Future Nostalgia” feel fussed-over and patched together out of pieces that don’t always fit, as if the several writers*** involved in these songs weren’t in the same room when the track was finally put together. The album seems to be a case study in throwing everything at the wall and not bothering to consider whether it will stick. And yet it seems to have a small army of critics defending it, even going so far as to call it the pop (or at least Pop) “album of the year” – which has me wondering exactly what all the hype is about.

“1989” has something that a lot of other blockbuster Pop albums since its release do not: a personal touch. Taylor Swift worked hard prior to that album at building her brand as a confessional singer-songwriter, and even with the big-name productions and radio-primed hits, she maintains that image: one of her biggest “1989” hits, “Blank Space”, explicitly addresses her (supposed) romantic history and relationship to the media. Elsewhere, she does some fantasizing about classic movie archetypes and the impulse to drop everything and run away from it all, strongly reminiscent of her past work. It’s not as easy as it might sound to pull off this kind of thing, and I think Swift deserves credit not just for the excellent musicality of the songs she put her voice to, but the consistency of the strong personality she built across her career (with misstep “Reputation” sticking out as the glaring crack in the portrait).

So I won’t compare “Future Nostalgia” to “1989” beyond the initial poptimism narrative it bolsters. No, “Future Nostalgia” isn’t particularly personal – its mode seems to be more in line with what Robyn was already doing a few years before Swift, anticipating a poptimism that would effectively result in her deification over the course of the 2010s. Similar to Robyn in her “Body Talk” series, Dua Lipa seems to approach “Future Nostalgia” with a kind of assumed confidence as a dancefloor queen – more celebratory than confessional.

The celebration, however, proves to be pre-emptive; “Future Nostalgia” lacks two crucial things that “Body Talk” had in spades. The first is a general willingness to experiment. Robyn’s albums were packed with silly throwaways, but some of them stuck, and the best are featured on the collected version of the album, from the Snoop Dogg collaboration “You Should Know Better” to the cybernetic-pop-anticipating “Fembots” to the sassy “Don’t Fucking Tell Me What To Do”. The title track of Dua Lipa’s album demonstrates a little bit of adventurousness, but it unfortunately flops, arriving in the form of awkward half-rapped verses that aren’t fun enough to leave a lasting impression. The only other potential outliers are the aforementioned “Cool” (which just happens to sound less disco than the rest but is otherwise a fairly standard, if well-written, pop song) and the album’s absolute nadirs, “Good In Bed” and the closing ballad “Boys Will Be Boys” (we’ll get to that in a bit). Otherwise, the album carries its aesthetic pretty consistently between tracks, giving little impression of any desire to experiment.

The second missing element is the consistency of the songs themselves. When Robyn’s songwriters toss her, say, a pseudo-dancehall song, they commit to it, making sure there are no weird melodic/harmonic/rhythmic hiccups and that the pieces fit together. And unfortunately, the majority of “Future Nostalgia”’s songs are full of exactly those kinds of hiccups and disjointed structural assemblages that leave me scratching my head. A lot of it’s subtle to the point that I can almost understand other critics missing these details, but I pick up on this stuff fast, and once I hear it, I can’t unhear it.

A lot of it’s in the phrasing; too often, Dua Lipa will go for a quick succession of staccato notes in a chorus when a simpler, slower phrase, or maybe just silence would have worked better (see “Break My Heart”, or the post-chorus of “Future Nostalgia”, in which she sings the 100% non-credible line “I know you ain’t used to a female alpha” – side note, has she even listened to top 40 radio in the last decade?). “Physical” is almost fun until you realize that the phrasing, melody and harmonic structure of the chorus would fit perfectly into any godawful Nickelback song.

Actually, “almost fun” is one of the phrases that I feel best describes so many songs on this album. Too many of the tracks set up something great only to follow through with some baffling songwriting choices. The second track in, “Don’t Start Now”, disrupts an excellently-phrased verse and infectious bassline with a chorus awkwardly parachuted in from what sounds like a 90s house song. The more in-character post-chorus that follows can’t help the song recover once you realize that it’s nowhere near as endearing as the original verse melody. That half-assed rapping makes a re-appearance in the bridge of “Levitating”, which is otherwise perfectly acceptable. If not for that moment, “Levitating” would come close to being the third pick of my favourite songs here, although you can’t fool me, Dua Lipa: I know that chorus is just a sped-up re-hash of the Jacksons’ “Blame It On The Boogie”. “Pretty Please” is also fine, funky and subtle, displaying some restraint on part of the songwriters and producers for once – though there’s also nothing about it that jumps out and grabs me. Besides the two standouts, is that the best I can hope for on this album, a song where nothing goes horribly wrong? At any rate, it’s better than the bland, shameless Lily Allen rip “Good In Bed”, which also features an utterly confounding “pop” sound effect in the chorus replacing one of the mind-numbingly repeated words.

There are some exceptions with regard to singers that can make use of this kind of disjointedness. Ariana Grande’s “Sweetener” walks a thin line, but it often pays off. See, Grande is a singer’s singer, at least by Pop standards; she’s known for crooning, for belting, for singing her lungs out. But she also wants to be a Pop icon to young people right now, and that means staying up-to-date in her production and songwriting. The trouble is, one of the most popular genres with the kids these days happens to be trap, which doesn’t exactly lend itself to Grande’s showboating vocals, favouring short, choppy phrasings and half-mumbled half-singing mixed almost low enough to blend with the music. So she compromises: some of the songs on “Sweetener”, such as the title track, have verses and choruses that feel as though they’re pulling in opposite directions, with Grande getting an opportunity to flaunt the long high notes in a percussionless section before dropping into those staccato bursts that suit the heavy 808s of trap. Despite it being more drum’n’bass/R&B throwback than trap, a similar dynamic is at play in Grande’s biggest hit from that album, “No Tears Left To Cry”. Unlike Dua Lipa’s lurching song structures, Grande’s feel intentional and thematic; the songs aren’t always bulletproof, but I feel like I learn something about her by hearing the tension of styles she’s struggling to stretch herself between. All I feel like I learn about Dua Lipa from the messiness of her songs is that either her, her songwriting team, or both are very confused about what goes into an effective pop song.

Of course, Ariana Grande is also operating in a slightly different mode than Dua Lipa in the first place: whereas Dua Lipa is engaging Pop radio in the recent tradition of satisfying formulaic hits like those of “1989”, Grande has one foot (or maybe even one and a half?) in the parallel tradition of R&B. While the two traditions frequently mix and crossover on the radio, they represent very different approaches to music whose distinction might provide some insight into why some of what Dua Lipa is trying to do isn’t working.

To put it simply, the basic unit of what we’ll call traditional pop is the song, and the performer of the song is meant to convey the essence of that song as a relatively unwavering whole – the performer is effectively the conduit for the song, which reaches the listener through the medium of the performer. The singer has some room to “interpret”, but once a given interpretation is found to be effective in its “hook” potential, it’s typically kept as part of the formalized song, written in stone, more or less.

R&B, true to its roots in “rhythm and blues” and, before that, jazz, essentially reverses this. Songs are present in R&B and not necessarily unimportant, but they typically become conduits for the performer’s own expressiveness. In this setting, the performer’s “interpretation” is actually the most important ingredient, as the performer’s style is effectively the product, the listener’s focus. This places greater emphasis on experimentation with phrasing, melody and other aspects of a song, as well as the potential differences between multiple recordings and performances of that song.

These two paradigms have consequential implications for singers of songs operating in a given mode. A traditional pop singer, for example, is going to be more likely to defer to the song as-written in their performance of it for a recording. An R&B singer, by contrast, is more likely to improvise, often delving into explorations of how to make their voice a more expressive instrument – in many cases, actually, it can be a matter of making their voice more like an instrument, full stop. The notes aren’t sung to express words so much as they are sung to express pure sound. Vocals can vary wildly in rhythm, giving off phrasings that might normally be considered unnatural, but, if placed artfully enough, can re-shape our expectations of pop music in the first place. These aren’t ironclad rules, by the way – the genres cross over frequently and the lines are often ambiguous. But I think defining the differences here can at least help us understand the split in the approaches of, say, Taylor Swift vs. Janet Jackson.

Arguably, the biggest R&B star in the world at the time of writing this remains Beyonce, and with fairly good reason: her powerful voice brings a lot to what are often already well-written songs. Take note here: something like “Formation” (which I have previously written about in my article on hip-hop’s inheritance of the post-punk legacy) or even “Drunk In Love” probably wouldn’t fly in the realm of Pop. Tracks like these are mainly embellished not necessarily with flashy songwriting or production flourishes (although they can have those too), but with Beyonce’s vocal interpretations of them, sometimes approaching something more like rapping than singing****. Note also: vocalizations in this context are given a certain freedom, a license to be weird within a certain range of acceptability. Need I remind you of “surfboard, surfboard, / Grainin’ on that wood”?

My point here is that R&B singers are playing by different rules than Dua Lipa. This isn’t just me arbitrarily deciding that what she’s doing isn’t “R&B enough” – you can here it in her approach. My criticism of her awkward phrasing is based largely on the fact that it doesn’t sound like she’s doing it to “experiment” with the songs she’s given. She repeats these phrases exactly the same way each time, as in the chorus of “Break My Heart”, just so you know it’s intentional. If she is, in fact, improvising, the songs aren’t very suited to it and her attempts are mostly unsuccessful; they become hooks that highlight their own weaknesses rather than bold forays into new rhythmic territory.

The most interesting part of “Future Nostalgia” is, by far, the backing music. Even when Dua Lipa’s singing and hooks fail, the production shines through (even here, though, there’s a caveat with regard to the last two tracks). Consider the sublimely gauzy vocal(?) loop at the beginning of “Levitating”; the sweeping disco violins of “Love Again”; the finger-popping funk bassline of “Don’t Start Now”; even the Justice-lite bass synths in the chorus of the otherwise by-the-numbers “Hallucinate”. “Physical”’s best aspect is, in fact, a small countermelody running in the background of the obnoxiously bland chorus.

This is where I can most understand what got music critics hyped up on this album in the first place: superficially, at least, it sounds pretty damn good. But I suspect the willingness to overlook its other obvious faults stems from a tendency among “poptimistic” critics to treat singers as interchangeable in a system they perceive to be dominated more by “sounds” than by music proper. In fact, the singer is a real make-or-break point in much of modern pop music (Pop or otherwise), likely due to the focal point they occupy; a great singer can occasionally salvage a terrible song, while a bad (or even just mediocre) singer can easily bring down the most well-constructed powerhouse hit.

A case against valuing “Future Nostalgia” solely on the basis of its production: the last Pop album I remember listening to where the production outshined the songwriting was Billie Eilish’s “WHEN WE ALL FALL ASLEEP WHERE DO WE GO?” Eilish’s songs aren’t bad, and are frequently even good – but I was surprised at how conventional, or even “traditional”, most of them were. “Bad Guy” and “All The Good Girls Go To Hell” are basically jazz songs. “Xanny” and “Wish You Were Gay” (the most lyrically immature, it must be acknowledged) are pretty standard singer-songwriter fare. Others tend to play to a type: either sleepy ballads (“When The Party’s Over”) or, the most interesting songs on the album, the hip-hop influenced minimalist pieces (“Bury A Friend”, “You Should See Me In A Crown”).

But of course almost all of these songs are transformed in part by some rather astonishing production. No one who’s heard “Bad Guy”’s synth-squiggle chorus would mistake it for jazz, and the chorus of “Xanny” squirms in a shroud of distorted bass that pull back when you least expect it – hardly typical sonic territory for most singer-songwriters. Even the already-powerful “Bury A Friend” hits harder than it might have without the surging crunches it’s afforded in the production.

My point, however, is not that the production is what makes this album – it doesn’t, at least not entirely. The production is roughly half of what’s interesting here. The other half is comprised by two things: the fact that most of the songs are fairly strong already (though I think Eilish could lose a few of the ballads and come out better from it), and the fact that Billie Eilish also happens to have a very distinct vocal style. Actually, that last part alone is probably the selling point for most people: Eilish’s eerie half-whispered delivery plays more of a role in constructing her album’s overall dark mood than the production. It has its limitations, and I wonder what her future will bring in terms of her ability to move beyond the role she’s effectively typecast herself in, but it has something on Dua Lipa: it has personality.

So vocal style is important, but that’s not all: as I mentioned, Eilish’s songs are also consistently stronger than Dua Lipa’s, even when both are at their lyrical worst. Sure, “Wish You Were Gay”’s self-absorbed whining about unrequited love and sexuality sounds exactly like what you’d expect to come from a undeveloped teenage singer. But the lyrics are the only thing wrong with that song; take those away, and the melodies and instrumentation sound pretty damn great. The same cannot be said for the overblown dollar-store balladry of Dua Lipa’s execrable “Boys Will Be Boys”, which, despite projecting an ostensibly more “progressive” outlook than “Wish You Were Gay”, falls flat on its face anyway. And I’ll take an Eilish ballad over “Good In Bed”, which sports an obnoxiously repetitive chorus – static, plastic, it sounds like a strained smile looks, desperately trying to convince you that this is fun, right?

“But wait,” you might say, “pop music is supposed to be fun! And isn’t that what most of ‘Future Nostalgia’ aspires to? Shouldn’t we forgive Dua Lipa for some of her mediocre songwriting if her goal in making us dance is at least a defensible one?”

And the answer is no, because Pop is already full of music more fun than this. The way I see it, there are several ways in which one could make music more fun than “Future Nostalgia” (better songwriting being one I’ve already discussed to death here), but I’ll wager that a fairly reliable method is that frequently employed by Lady Gaga: do something musically outlandish and downright weird.

“Bad Romance” is the obvious lodestar here, but Gaga’s career is full of the absurd: just take pretty much any song off of “Born This Way”. Even the “normal” songs like “Yoü and I” (at least pre-“Joanne”) come across as weird by virtue of being placed next to something like “Electric Chapel”. And all this is done in the service not only of raising eyebrows, but in the name of fun. Even some of Gaga’s weaker efforts like “Venus” (or many others on “Artpop”) have a winking slyness to them that lets you laugh along with her. It rarely feels like she’s “serious” when she’s singing about love, sex, or dancing all night, but she gets you dancing anyway.

“Future Nostalgia”, by contrast, has few attempts at any kind of weirdness, and those it does have fall flat. I’ve already mentioned the cringe-y pseudo-rapping, but the spoken-sung pre-chorus of “Physical” is just as embarrassing, bringing the song’s momentum (its second-greatest virtue) to a screeching halt with an awkward phrase that feels totally unnecessary. And then there’s that sound effect on “Good In Bed”. These moments detract from the album because they feel half-assed, like Dua Lipa never bothered to commit to the bit she tacked on. And aside from this, “Future Nostalgia” remains pretty conventional Pop – she’s not exactly reinventing disco here, just emulating it for a new generation with mixed results. If only she could pull a “Heartbeat” or “Love Hangover” out of her bag, but the album is so radio-oriented that the songs rarely reach the 4-minute mark even when they find a groove worth hanging on to. It’s as if she mistook the law M.I.A. ironically lays down at the end of her biggest hit for sage advice: “Remember: no funny business!”

There is one more aspect of the poptimism that helped propel this album in the eyes of critics I have yet to discuss: the paradigm’s coinciding with the recent wave (is it the fourth? I’ve lost count) of popular feminism. This was significant for Taylor Swift at the moment of “1989” because it allowed for interpretations of songs such as “Blank Space” to reach beyond a simple commentary on her stardom and discomfort with media coverage, branching out into a more expansive reading of the song as representative of the ways in which women in general are demonized for their past relationships. Feminism, as a cultural framing device, was crucial in shaping listener perceptions not just of “Blank Space”, but of many other songs on the album. It also helped to launch a whole wave of emerging and returning Pop artists’ albums and singles that traded in similar (vaguely) politically-charged lyrics.***** In the years that followed, a veritable opening of the floodgates would happen with regard to public feminist consciousness-raising, culminating in specific incidents such as the #metoo movement.

For the record, I think this was largely good. I’m under no illusion that “1989” is in any way a politically radical album, but I think the return of pop feminism has generally had a net positive influence in getting pop artists of all kinds of re-think their music’s relationship to gender politics. That being said, there are two things I resent about its lasting impact. The first is the kind of forced extrapolation of songs that bring up gender in any way into “feminist” anthems when they’re largely about relations that have little to do with the matter. One case in point might be Dua Lipa’s pre-”Future Nostalgia” hit “New Rules”; inexplicably, I often see fans trying to make the song’s lyrics out to be some kind of political diatribe about the cruelty of men to women or something like that, when in fact it sounds more like a typical “bad relationship” song, the kind that have been on the charts for decades by now.

But the other thing I’ve come to dread from pop-feminist Pop is the inevitable half-assed “message songs” that seem designed to cash in on using feminism as a signifier that an otherwise apolitical artist is still hip and knows what’s up. Whether through “New Rules” fan encouragement or her own hubris, Dua Lipa has regrettably chosen to end “Future Nostalgia” with such a song: “Boys Will Be Boys” (no relation to the significantly better-written song of the same name by Stella Donnelly). I don’t really want to write a lot about this song because part of the problem with it is that it’s bad in a lot of boring ways, but I do think it’s significant that it was singled out by several other critics (even those who liked the album) as the album’s worst song by miles. I’m hoping this shows a change in perspective here, as critics get harsher about flops like this one, and hopefully the eventual end result from this pushback is that Pop stars will stop trying to convince us they’re “real feminists” with empty songs like “Boys Will Be Boys” that are tacked on to the end of their “bangers” album as a kind of placating afterthought.

So a number of critics have indeed placed too much stock in this album: contrary to the feeling you may have gotten from my relentless criticisms here, “Future Nostalgia” isn’t necessarily bad, but I wouldn’t call it “good” either. It sits in a mid-tier of Pop albums over-enthusiastically pushed out during this era of high poptimism. It’s not the next “1989”, or “Lemonade”, or “Body Talk”, or “WHEN WE ALL ETC.” It’s just a mediocre album with a few great songs that were somehow never released as singles.

Is the inflation of “Future Nostalgia”’s reputation a sign of poptimism’s imminent bust? Are we entering a period of critical groupthink and gradual decay? These questions are too big to answer here, or perhaps at all for now (likely we’ll know the answer for sure in another decade). But I want to end this on a positive note by singling out a singer I haven’t mentioned yet as perhaps the greatest Pop artist of the last 20 years: in all these comparisons, I never got around to bringing up Rihanna.

On one hand, much of the poptimist revolution in criticism has involved taking the studio albums of Pop artists as seriously as their counterparts in other genres. On the other, Pop has never really stopped being a singles genre, and few have demonstrated this better than Rihanna. This is not to deny that she’s released some totally listenable, or even great, albums in her own right: “Talk That Talk” and especially “ANTI” stand as excellent records that came along relatively late in her career. But, well, raise your hand if you’ve actually listened to, say, “Good Girl Gone Bad”. Now raise your hand if you know “Shut Up And Drive”, “Don’t Stop The Music”, “Disturbia”, and, of course, “Umbrella”. See what I mean?

Perhaps I could blame “1989” again in part for this shift in focus from Pop singles to Pop albums. It’s pretty remarkable, after all, that the album is as consistent as it is, and I think that might have caught a lot of critics who were expecting otherwise off-guard. I think another problem, however, resides in the dominant mindset among critics in the first place, the idea that albums are the more valuable art form, the standard by which greatness is measured. Even I find myself incapable of breaking free of that format of evaluation – I’m much less likely to seek out more of an artist’s stuff based on a few great singles of theirs compared to if I hear an entire album from them that I like.

This might be slightly unfair of us critics, but there are workarounds to help correct this bias. One of those workarounds is the compilation. If an artist can make an album’s worth of great songs, but they happen to be spread across a number of their otherwise-mediocre albums, they can still win favour by collecting all (or most) of those gems in the same place, a “greatest hits” collection being the most common******. This seems like a pretty reasonable way of enjoying singles-oriented artists for those of us who are still stuck on the old album format.

But compilations have also never been as popular to review among critics as studio albums (I don’t know, maybe many feel like it’s cheating to collect the best stuff in one place?) and, as stated, it seems like poptimism’s paradigm shift has only reified the bias towards albums by putting more weight on Pop artists’ studio albums than before. Further, as compilations have started to die out (since anyone in the streaming age can assemble their own “greatest hits” playlist that will have all their own personal favourites on it), recent Pop artists often aren’t even given the chance to be evaluated at their best in a compilation format. I wonder if this is also a contributing factor in the hype surrounding “Future Nostalgia”; though it would probably be better remembered for its singles which could be collected on a later “Best Of Dua Lipa”, the fact that such a collection is unlikely to materialize pushes critics towards trying to sell listeners (and themselves) on this being Dua Lipa’s “definitive statement” and reason to take her seriously as an artist simply because it’s the most consistent thing she’s released so far.

Regardless, Rihanna is a model artist in terms of being a singles-oriented Pop singer deserving of a great compilation. If someone were to put it together, I’m fairly certain it could rival Madonna’s “The Immaculate Collection”, the former (basically archetypal) gold standard for a Pop artist’s greatest hits. Imagine hearing “Umbrella”, “Work”, and “We Found Love” all in the same place, uninterrupted by the inevitable string of lesser artists’ hits you’d inevitably hear if that place was the radio or some poorly algorithmically-generated playlist. My concern is that with the death of the compilation and shift in the expectation for the Pop artist’s studio albums to be their defining moments, such an album will only ever exist in an unofficial capacity. Which is fine, I guess – if you hate pop canon. But I don’t, so I patiently await the return of a collective memory for singles that extends beyond the radio and the playlist.

*Interesting to see how these examples have aged.

**Don’t get me wrong, I like “1989”! But its potentially negative influence will be detailed further as I continue.

***This isn’t a criticism of songwriting teams in general – certainly great songs have come out of the modern collaborative approach to pop songwriting, and I’ll get to those soon.

****And of course there’s a whole other conversation to be had about the ways in which hip-hop and R&B, formerly more separate genres, have been in the process of merging for the last two decades as performers in each have realized how much their interpretive approaches have in common.

*****It should be noted that this trend started several years earlier in “underground” and “indie” scenes and only just made its way into the Pop mainstream around 2014, but that’s a discussion for another article.

******Actually, even if an artist has only one great song, multi-artist compilations can step in to help. But since I’m focusing mainly on the respective cults of personality of specific Pop artists here, I won’t get into those. I should also add that Pop is by no means the only genre in which this happens: there are definitely so-called ��classic rock” artists who I wouldn’t bother listening to outside of a compilation of their best stuff (Queen, for example).

#Music #Music criticism #Pop music #Dua Lipa #Future Nostalgia #Rihanna #Billie Eilish #Beyonce #Taylor Swift #Robyn #Lady Gaga #Ariana Grande

5 notes · View notes

waritawrites · 4 years ago

Text

Tales from the Hood: Rhodie (black elitists) or Duke Metger (Biden) - Who was the Bigger Threat to Black People?

https://followerofthewayforever.wordpress.com/2021/05/05/tales-from-the-hood-rhodie-black-elitists-or-duke-metger-biden-who-was-the-bigger-threat-to-black-people/

#Prolife #LABlackAdvocatesforLife #LouisianaBlackAdvocatesforLife #BlackGenocide #AbortionIsEugenics #PlannedParenthoodIsElitist #Elitism

#ElitismIsHomicidal #LouisianaRightToLife #PlannedParenthoodPredators #PlannedParenthoodOwesReparations #Reparations

In Rusty Condieff's 1995 horror movie Tales from the Hood, there is a story called KKK Comeuppance which starred Corbin Bersen as senator and former KKK member Duke Metger and Roger Guenver Smith as his Public Relations consultant Rhodie (a black elitist) who are working to get Duke elected as governor. Duke faces great opposition because of his past membership with the Ku Klux Klan and AND his choice of the location of his campaign headquarters - his grandfather's old plantation. His grandfather murdered his slaves were upon finding out slavery in the south had been legally ended. There is an old legend that says that a former slave woman used witchcraft to capture their souls and place them in the bodies of dolls. The dolls would periodically come to life and their leader was the woman's husband who had been killed. A mural of the woman and her dolls was located Duke's office.

Alone, Duke was an unlikeable, arrogant, person. Yet, with the help of Rhodie, his appeal grew which made him a serious contender in the governor's race. When looking at today's political scene, one would easily say that Trump was like Duke Metger - when looking from a superficial perspective. A SUPERFICIAL PERSPECTIVE. He wasn't the most tactful. He was blunt. Some, DEFINITELY NOT ALL, of Trump's were white supremacists (some were also white "liberals" pretending to be stereotypical white conservative Trump supporters) and those who weren't white were anti-black, some of which were black. Yes, there are anti-black black people. One such character in Tales from The Hood was Rhodie. Rhodie seemed to represent a stereotypical black republican. He seems like the type of anti-black, self-hating black person who would pretend to "help" the black people improve their community by getting rid of as many Black people as possible using:

- Forget GOD and uphold multicultural, pagan ideals instead

- Abortion

- Euthanasia (gotta maintain that quality of life)

- Normalization of promiscuity

- Normalization of destructive alternative lifestyles

- The stigmatizing of traditional marriage and family

-The normalization of addiction and substance abuse, such as recreationally smoking heroin

Columbia professor: I do heroin regularly for ‘work-life balance’

https://nypost.com/2021/02/19/columbia-prof-i-snort-heroin-regularly-for-work-life-balance/

https://twitter.com/Joy_Villa/status/1363557914351403016?s=20

People who promote such self-destructive behaviors as normal or even inherently black are an enemy! They are an enemy of mankind, no matter how progressive that they think such behaviors are. Indeed, progressivism, like evolution, is an oxymoron because you don't gain anything biologically nor socially. Things regress to its most basic form. Though, a progressive such as a eugenicist might would tell you, "progressive for the purpose of efficiency - less means more." More for them, more resources for them in their quest to reign supreme in the survival of the fittest, or their horrible misinterpretation of term. Yet, we don't see the promotion of such self-destructive behavior coming from Black Republicans, Conservatives, and Independents. We see the encouragement of black self-destruction coming from Black Democrats

Most Democrat Legislators Champion Margaret Sanger’s Racist Genocide Mission – Are They Counter-representing You?

https://followerofthewayforever.wordpress.com/2019/05/16/most-democrat-legislators-champion-margaret-sangers-racist-genocide-mission-are-they-counter-representing-you/

Liberals, and some (especially paid) Social Justice activists as well as your various dose-of-distraction-from-news-and-entertainment-attractions.

Black Agents of White Supremacy in the Media endorse racist Joe Biden

https://followerofthewayforever.wordpress.com/2020/03/04/black-agents-of-white-supremacy-in-the-media-endorse-racist-joe-biden/

Support of the Super Predators: White Supremacists in Liberal Disguise and the Mainstream Media that promotes them

https://followerofthewayforever.wordpress.com/2020/02/17/support-of-the-super-predators-white-supremacists-in-liberal-disguise-and-the-mainstream-media-that-promotes-them/

Joe Biden & his supporters on Joe's racist association with the klansmen sound a lot like Duke Metger & Rhodie in Tales from the

Hood @ 0:56:22 mins

"We all have a past, now don't we?"

"We all, have a past. Its a better man who can learn from his failures. I know that I have learned from mine and I'm better for it."

Duke Metger & Rhodie in Tales from the Hood, https://youtu.be/5vxHfr3DLKg

Margaret Sanger also used black elitists to carry out her plan for eugenics by way of birth control.

Planned Parenthood has stalked and misinformed Black people, particularly Black people experiencing poverty as well as uneducated Black people about the personhood of an unborn child. However, Black Democrats, Liberals, and some (especially paid) Social Justice activists such as Black Lives Matter:

BLM to Biden & Harris: We want something for our vote

https://www.theblaze.com/news/black-lives-matter-leader-to-biden-and-harris-we-want-something-for-our-vote

- BLM got in the way with their grifting and clout-seeking.

Michael Brown’s father, Ferguson activists demand $20M from BLM

By Kenneth Garger

https://nypost.com/2021/03/03/michael-browns-father-ferguson-activists-demand-20m-from-blm/amp/?__twitter_impression=true

Where is the $90 million dollars collected by BLM? Michael Brown’s father, Ferguson activists demand $20M from BLM

https://twitter.com/TheFabulousRee/status/1371965130578268160?s=20

Shaun King attempted to discredit Samaria Rice when she spoke against the political exploitation of racism and police brutality done by pseudo-social activists, celebrities, and politicians. Shaun King stated that she was not thinking the way that liberal white "woke" supremacy wants her to think. She isn't sticking with their destructive narrative and agenda for Black people. They're redlining us into feeling that we can't be self-reliant! Meanwhile, Closet Capitalist Anarchists ease into the neighbohoods they help to destroy to start businesses, buy real estate for commercial and residential purposes;etc. #UnfollowShaunKing

"I read Shaun King’s piece about Samaria Rice’s critical social media comments and this is some of the most patronizing ugly sh-t I’ve ever seen"

https://twitter.com/ztsamudzi/status/1371882450763329536?s=20

BLM destroyed a beautiful,civilized movement as well as communities. It could have been a beautiful,civilized movement yet they ruined it w/buffoonery such as twerking for Martin Luther King, Jr Day and WAP stupidity

Joe Biden's non-response reminds me of this scene from Tales from The Hood:

Duke Metger in Tales from the Hood, "No Reparations!" https://youtu.be/7vjwA1IkIRk

and Black ministers

Apostate False Preachers for Feticide and Infanticide: Jesse Jackson and Al Sharpton

https://followerofthewayforever.wordpress.com/2020/03/11/apostate-false-preachers-for-feticide-and-infanticide-jesse-jackson-and-al-sharpton/

have been its main proponents and propagandists since the early 1900's when it was known as the American Birth Control League. To appeal to Black people, Sanger said:

The Use of Ministers for The Negro Project in a 1939 letter to Dr. C.J. Gamble:

"The ministers work is also important and he should be trained, perhaps by the Federation as to our ideals and the goal that we hope to reach. We do not want word to go out that we want to exterminate the Negro population and the minister is the man who can straighten out that idea if it ever occurs to any of their more rebellious members."

In Birth Control and the Negro, Sanger talked about the value of the influence of black ministers:

“The project would hire three or four ‘colored Ministers, preferably with social-service backgrounds, and with engaging personalities’ to travel throughout the South and propagandize for birth control, since ‘the most successful educational approach to the Negro is through religious appeal” (as cited in Gordon, 2007, p. 235).

Dr. Albert Lasker, Sanger (1939) stated, "If we could get the Negro Universities and the Negro medical groups behind this project it will go over really big I think, especially if there is a little money to give to those for time spent and for supplies in their clinics."(para. 3)

One of her biggest propagandists was W.E.B. DuBois (See: Negroes and Birth Control, https://libex.smith.edu/omeka/files/original/16e5b6a56c2c4aedb3274e7124f3006e.jpg)

W.E.B. DuBois (1939) stated:

“Among the more intelligent class, was a postponement of marriage, which greatly decreased the number of children. Today, among this class of Negroes few men marry before thirty, and numbers of them after forty. The marriage of women of this class has similarly been postponed.

In addition to this, the low incomes which Negroes receive make bachelorhood and spinsterhood widespread, with the naturally resultant lowering, in some cases, of sex standards. On the other hand, the mass of ignorant Negroes still breed carelessly and disastrously, so that the increase among Negroes, even more than whites, is from that part of the population least intelligent and fit, and least able to rear their children properly.” (para. 4 and para.5).

Joe Biden has more in common with Duke over the course of his career than does Trump. Here are the facts listed in my article, Joe Biden has built his career by FIGHTING AGAINST EQUITY and EQUALITY, https://followerofthewayforever.wordpress.com/2021/01/22/joe-biden-has-built-his-career-by-fighting-against-equity-and-equality/ :

"Joe used the drug epidemic to target Blacks and poor people to serve longer sentences for trafficking by promoting proganda that crack is more lethal than cocaine. Blacks and poor people could afford crack for distribution and sell because it was less expensive than cocaine which Biden gave lesser sentencing. This occurred during the time the number privatized prisons began to increase. These were for-profit prisons. This first company to take over a prison was Core Civic in 1984. Civic Core took over a Shelby County, Tennessee prison.

Vox.com's German Lopez https://www.vox.com/2015/8/26/9208983/joe-biden-black-lives-matter shares Jamelle Bouie's list at Slate.com https://slate.com/news-and-politics/2015/08/joe-biden-presidential-run-why-its-a-bad-idea.html:

"Comprehensive Control Act: This 1984 law, spearheaded by Biden and Sen. Strom Thurmond (R-SC), expanded drug trafficking penalties and federal "civil asset forfeiture," which allows police to seize and absorb someone's property — whether cash, cars, guns, or something else — without proving the person is guilty of a crime. Under the federal Equitable Sharing program, local and state police get up to 80 percent of the value of what they seize as funds for their departments, which critics say creates a for-profit incentive to take people's stuff.

Anti-Drug Abuse Act of 1986: This law, sponsored and partly written by Biden, ratcheted up penalties for drug crimes. It also created a big sentencing disparity between crack and powder cocaine — even though both drugs are pharmacologically similar, the law made it so someone would need to possess 100 times the amount of powder cocaine to be eligible for the same mandatory minimum sentence for crack. Since crack is more commonly used by black Americans, this sentencing disparity helped fuel the disproportionate rates of imprisonment among black communities.

Anti-Drug Abuse Act of 1988: This law, co-sponsored by Biden, strengthened prison sentences for drug possession, enhanced penalties for transporting drugs, and established the Office of National Drug Control Policy, which coordinates and leads federal anti-drug efforts.

Violent Crime Control and Law Enforcement Act: This 1994 law, partly written by Biden and signed by President Bill Clinton, imposed tougher sentences (including some mandatory minimums) and increased funding for prisons, fostering the explosive growth of the US prison population from the 1990s through the 2000s — a trend that's only begun to reverse in the past few years. Since black Americans are disproportionately likely to be incarcerated, the law helped contribute to the mass incarceration of black Americans in particular. But the law also included all sorts of other measures, including the Violence Against Women Act that helped crack down on domestic violence and rape, a 10-year ban on assault weapons, funding for firearm background checks, and grant programs for local and state police.

The RAVE Act: This 2003 law built on the Anti-Drug Abuse Act of 1986 to impose civil penalties on businesses that knowingly lease, rent, use, or profit from a space where illicit drugs are being stored, manufactured, distributed, or used. The idea was to go after raves in which drugs are widely used. But the law has been widely criticized for making rave organizers so paranoid about anti-drug crackdowns that they stopped doing anything that would implicate them in drug use, including providing medical or educational services for drug users."

Interesting that Joe and Strom Thurmond partnered to write the 1984 Comprehensive Control Act during the same time period that Core Civic took over a facility in Tennessee. The increase in the number of privatized coincided with Biden's focus on creating crime bill's. To sell his 1994 Violent Crime Control and Law Enforcement Act #1994CrimeBill, Biden's rhetoric was "Lock the S.O.B.'s Up" to further vilify the poor and other disenfranchised people to justify mass incarceration.

-'Lock the S.O.B.s Up’: Joe Biden and the Era of Mass Incarceration

He now plays down his role overhauling crime laws with segregationist senators in the ’80s and ’90s. That portrayal today is at odds with his actions and rhetoric back then.

https://www.nytimes.com/2019/06/25/us/joe-biden-crime-laws.html#click=https://t.co/7ck1J9966W

His magnum opus was his 1993 Predators Beyond the Pale Speech

-Joe Biden Warns Of "Predators On Our Streets" Who Were "Beyond The Pale" In 1993 Crime Speech

https://youtu.be/7oDHSt-CKtc

- Joe Biden wrote the Clinton approved Violent Crime Control and Law Enforcement Act:

Bill Clinton's crime bill destroyed lives, and there's no point denying it

https://www.theguardian.com/commentisfree/2016/apr/15/bill-clinton-crime-bill-hillary-black-lives-thomas-frank "

In addition to creating legislation that racially profiles minorities into a system of for-profit mass incarceration, he has also been a loyal supporter of planned parenthood.

Current Planned Parenthood CEO Alexis McGill Johnson says:

"Margaret Sanger’s beliefs caused irreparable damage to the lives and health of generations of Black people, Latino people, Indigenous people, immigrants, people with disabilities, people with low incomes, and many others." Read more from

@alexismcgill

: https://p.ppfa.org/3x3N29f

https://twitter.com/PPFA/status/1383827872628953094?s=20

I’m the Head of Planned Parenthood. We’re Done Making Excuses for Our Founder

https://www.nytimes.com/2021/04/17/opinion/planned-parenthood-margaret-sanger.html?utm_source=twitter&utm_medium=tweet&utm_campaign=healthtwitter&utm_content=nyt2-april21

Despite McGill-Johnson's statement of the racist activities of planned parenthood as well as Kamala Harris' expression of fear of Joe Biden's praise of the known white supremacists of whom he has shown reverence:

What bothered Kamala about Joe? Interview with Kamala Harris on the campaign trail - Face the Nation

11:35 mins: “Praising and coddling individuals who made it their life work and built their reputation off of segregation of the races in the United States........I would not be a member of the United States senate if those men he praised had their way."

What bothered Kamala about Joe?

https://youtu.be/xMqp7A-O0HE?t=695

Let's talk about Joe Biden - 10:53 mins

https://youtu.be/xMqp7A-O0HE?t=653

this year he has still allowed the government to give over 400 million dollars to continue to decimate the Black community.

Joe Biden Gives Abortion Industry $467.8 Billion, 19 Times More Tax Money Than Obama

https://www.lifenews.com/2021/04/29/joe-biden-gives-abortion-industry-467-8-billion-19-times-more-money-than-obama/

https://twitter.com/StevenErtelt/status/1388694739512348674?s=20

Black people make up 13% of the population and Black women only represent 6% of the total population yet account for 36.9% of the nation’s abortions whereas white women account for 36% of the nation’s abortions however white people are 76% of the nation’s population. (Jatlaoui TC, Boutot ME, Mandel MG, et al, 2015).

Jatlaoui TC, Boutot ME, Mandel MG, et al. Abortion Surveillance — United States, 2015. MMWR Surveill Summ 2018;67(No. SS-13):1–45. DOI: http://dx.doi.org/10.15585/mmwr.ss6713a1

Regarding the near extinction of the Black population in America due to abortion, Nyhiem Way El stated to reparations group American Descendants of Slaves,

https://www.facebook.com/groups/ados101/permalink/296772141208488/?sfnsn=mo,:

"- Based on the January 2018 estimate that there have been 60 million abortions in the United States since 1973,20 we can deduce that well over 18 million of them were performed on black babies.

- As of July 2017, the black population in the U.S. stood somewhere around 40 million, which means that abortion has reduced the size of the black community by more than 30%—and that doesn't include the children and grandchildren that would have been born to those aborted more than a generation ago.'

Abort73.(n.d.). Abortion and Race. Retrieved from https://abort73.com/abortion/abortion_and_race/

Essentially, this is a 50% halt in population growth if you look at the children and grandchildren who would've been born since 1973 of the aborted. (Way El, 2019)

**As of July 2017, the black population in the U.S. stood somewhere around 40 million, meaning abortion has reduced the size of the black community over 30% and doesn't including potential children and grandchildren born to those aborted a generation ago

https://abort73.com/abortion/abortion_and_race/"

Planned Parenthood owes reparations to Black people, Hispanics, those living in poverty, women, AND fathers who wanted their children that were aborted.

GOD hates the Oppression of the Disenfranchised: Proverbs 30:14 & Jeremiah 34:8 - 22

https://followerofthewayforever.wordpress.com/2021/04/17/god-hates-the-oppression-of-the-disenfranchised-proverbs-3014-jeremiah-348-22/

Proverbs 30:14

“There is a generation, whose teeth are as swords, and their jaw teeth as knives, to devour the poor from off the earth, and the needy from among men.”

Hypocrisy of Joe Biden: A Legacy of Self-Entitlement and Oppression against the Disenfranchised

https://followerofthewayforever.wordpress.com/2020/01/08/hypocrisy-of-joe-biden-a-legacy-of-self-entitlement-and-oppression-against-the-disenfranchised/

Biden's overall opinion of Black people continues to be low,especially of those who would vote for him. In August 2020, Biden stated at a meeting with Latino voters:

"By the way, what you all know, but most people don’t, unlike the African American community, with notable exceptions, the Latino community is an incredibly diverse community with incredibly different attitudes about different things.”

—#JoeBiden 8/6/2020 https://youtu.be/f4lXYR0su-8

I'm glad that I'm a notable exception - I didn't vote for him.

I will never support the removal of GOD being THE GUIDE of America, abortion

Scriptures Against Abortion and Child Abuse

https://followerofthewayforever.wordpress.com/2020/03/12/scriptures-against-abortion-and-child-abuse/

HURTING CHILDREN BRINGS ON THE WRATH OF GOD

Matthew 18:5-6,10

5 And whoso shall receive one such little child in my name receiveth me.

6 But whoso shall offend one of these little ones which believe in me, it were better for him that a millstone were hanged about his neck, and that he were drowned in the depth of the sea

10 Take heed that ye despise not one of these little ones; for I say unto you, That in heaven their angels do always behold the face of my Father which is in heaven

the destruction of traditional marriage and family, the destruction of traditional gender roles,eugenics, population control,euthanasia, and government and corporate hoarding rationing for totalitarian purposes disguised as environmentalism and sustainability.

Reference

Way El, N.(2019,May 16).Predatory Abortion Industry causes 50% halt in black population growth

https://www.facebook.com/groups/ados101/permalink/296772141208488/?sfnsn=mo

Du Bois, W.E.B.(1939, April). Negroes and Birth Control. Smith

https://libex.smith.edu/omeka/files/original/16e5b6a56c2c4aedb3274e7124f3006e.jpg

Sanger,M.(1939).Letter from Margaret Sanger to Dr. C.J. Gamble December 10,1939. Smith Libraries Exhibit, Accessed January 10, 2019, Retrieved from https://libex.smith.edu/omeka/files/original/d6358bc3053c93183295bf2df1c0c931.pdf

Gordon,L.(2007). Birth Control and the Negro. In The Moral Property of Women, p.235. Urbana; Chicago: University of Illiniois Press.

Sanger,M.(1939).Letter from Margaret Sanger to Dr. Albert Lasker November 12,1939. Smith Libraries Exhibit, Accessed January 11, 2019, Retrieved from https://libex.smith.edu/omeka/files/original/087da25e33426c0e81b01eebcdcc079d.jpg

#population control #eugenics #joe biden #racial profiling #prolife #alexis mcgill johnson #abortion #GOD #Jesus #Holy Spirit #Planned Parenthood #Planned Parenthood Owes Reparations #Reparations

1 note · View note