greengoblin0513

[greengoblin0513]

Two graphics I made for my band, thegodr.a.a on instagram. We played a show tonight. It was fun.

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The rain trickles & the water is sweet.

Family waits at the door of home and everything is lived through love. We wait for the hardwork to pay off, for the cigarette to disintegrate into our breath, for the snow to melt. It's not so cold today or so we think. The coffee has cooled and the notebook sits, untouched.

April 12, 2025

[greengoblin0513]

The Beast Took Our Mother & Gave Us Faith

The Beast of Gévaudan is an old legend detailing the ravenous and sanguineous rampages of an uncanny beast in the French countryside for three years during the mid 18th century. The animal was described through witnessed and word of mouth has having five or even six clawed fingers, a long snout, glowing eyes, long hair and as being much larger than a wolf.

His first victim was a fourteen year old sheepherder named Jeanne Boulet, soon followed by a multitude of almost exclusively women and children. The victims, totaling an estimated 100 fatalities and 300 injuries, were gruesomely slaughtered by means of beheading, disembowelment or having their throats ripped from their neck.

The brutal attacks terrorized and terrified France as the stories spread across the nation from the country to the royal palace in Versailles. Due to the political censorship of the news by the king and Gévaudan having been a generally remote and isolated, many newspapers turned to means of spreading the stories via anecdotal incidents told by villagers that turned the affair into a nationwide concern.

The widespread noticing of the beast initiated a coordinated attack involving 30,000 men, some of which dressed as peasant women to lure the monster, that would be rewarded with a salary's worth of reward money for killing it. In September of 1765, François Antoine- accompanied by his son and a group of men- shot and killed a large wolf that he claimed to be the beast. After sending the corpse to the king as evidence, he received his reward from the king and the praise of the villagers.

Two months later, the attacks reinitiated.

The king, believing the beast to be dead, offered no help to the victims, and an estimated 30 to 35 people died in the eighteen months that followed when villagers decided to take matters into their own hands. Local farmer Jean Chastel allegedly brought down the beast with a silver bullet on June 19, 1767. The beast was believed to be supernatural and the remains of the beast mysteriously disappeared without a trace. There was speculation that the beast could have been an African hyena, or even a werewolf.

With this information in mind, I believe that this is a load of shit.

I have deduced that the perpetrator was probably Just Some Man, and that the targeting of women and children along with the calculated and grisly attacks could be attributed to whatever sick desire he wanted to satisfy, taken out on an isolated and pitiful village he could terrorize. My sister has a theory that whoever killed the animal may have been the murderer himself, providing the carcass of a wolf at the end of his reign of terror to not only justify his innocence but be recognized as valiant in his village. The mysterious disappearance of the remains was sincerely the cherry on top of the matter.

The "beast" mutilated and murdered women and young girls over the span of three years and the only justice that was granted was the praise of man. What a fucking joke.

Sources:

When the Beast of Gévaudan Terrorized France

Watch The UnXplained | Netflix Episode 6: Mysterious Monsters

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L.R.H.C Mosh Cam

Latinos Run Hardcore Fest

August 2, 2K25 @ The Gym

Houston, TX

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Why Don't You Write A Song About It?

GRLwood is Kentucky-fried scream-pop duo made up of renaissance musician Rej Forester and drummer Mia Morris that quickly grew to become a popular riot-girl band known for their no-bullshit lyrics and raw vocals. Their musicianship is heavily based in feminist ideas, taboo subjects and addressing "toxic heteronormative ideologies". This track, Communicate With Me, is a part of their Audiotree live performance and is initially composed using a melodic guitar sequence, a relatively simple drum beat and delicate, operatic vocals to establish the atmosphere of the song before building into a crescendo of heavy cymbal crashes and abrasive, unintelligible vocal inclusions. The song fluctuates between these sections to make for a dynamic and emotional track that evokes a sense of vulnerability, honesty, desperation and fragility. To me, this song is an anthem for girls who struggle to speak with their mother in a way that is harmless and wholesome.

PJ Harvey had an impressive debut in the world of music, as she was named 'Best Songwriter' & 'Best New Female Singer' of the year following the release of her debut single 'Dry' in 1992. She is a multi-faceted artist that not only plays multiple instruments throughout her albums, but also produces poetry, artwork, videos and photography. She begins this track with isolated whispers, a clean guitar tone and high hats as a rhythmic metronome. One of the things I appreciate about PJ Harvey's musical discography is her use of groove and baselines- which are hard to miss in this track, The Wind- alongside her interpretations of womanhood, isolation, and how to cope. A notable mention from Harvey's discography is her collaborative tracks with alternative indie 90's band, Sparklehorse.

Elysian Fields can actually be used to reference a paradise reserved for heroes and the virtuous following their death in Greek mythology. Here, it is used to reference the noir-rock duo made up of front-woman and vocalist Jennifer Charles and Oren Bloedow that formed the band in 1995 and forged many albums through independent record labels. They have also composed theater and dance pieces and are musically involved with many artists, such as Marina Abramović, eventually opening up their own music venue in Brooklyn, New York called The Owl Music Parlor. In their lyrics, Jennifer often explores themes of intimacy, change and social riptides. The track, Climbing My Dark Hair is inspiring in its ability to communicate ideas of harsh romance and secure detachment after being hurt, all while maintaining a consistently comforting, feminine and hedonistic tone to express the dynamic perspectives of how a woman may cope with a failed relationship.

Amy Winehouse is an English musician of the early 2000's and claimed her spot as a global icon after her album Back To Black won multiple Grammies. The singer was often a favorite tabloid feature with her substance use, erratic behavior and dramatic looks circulating around news and media outlets. This track, titled Take The Box, is a prime example of Winehouse's soulful and distinct vocals, often compared to legends such as Billie Holiday and Dinah Washington, accompanied by a jazz band to detail the events of a bitter falling out between herself and a lover. The song allows her a platform to display her impressive runs, guttural emotion, and relatability to her audience. Her passion, raw feeling and unfiltered personality radiated brilliantly throughout her music career and can be felt deeply throughout every one of her albums.

If you need to cope, talk to a woman. Better yet, listen to one.

Sources:

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Grace & Divinity in Austin, Texas.

I bought a small coin purse for $9.26. I think it will help protect me from losing my wallet again.

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Quick poster. "Throw A Fit About Some Real Shit!"

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Quick sketch. I drew myself as a cyclops.

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How sparkly. How beautiful. Next I conquer special effects.

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Quick sketch. I drew myself as a pegasus. Everything is totally 100% anatomically proportionate so I wouldn't bother checking or worrying about it.

[greengoblin0513]

When Is Violence Okay?

TLDR; Violence is everywhere and in everything; Empathy and common sense can be accredited to how you decide when it is acceptable.

Violence is generally frowned upon by much of society because the acceptance of pain is against human nature. Experiencing it challenges our survival instincts that encourage our self-preservation; Inflicting it upon others us is morally wrong because we know how unpleasant the feeling is. Knowing these basic truths, we as individuals still see so much violence in the world that is at some times passionate and other times accidental. By looking at various instances where the implementation of violence is more nuanced, we can navigate the occurrence of violence with more understanding.

Revolution is largely successful when violence is implemented as a way to threaten oppressors and provoke a reaction that will allow some instability to the (oftentimes) systematic degradation of certain people groups. An instance of this is the first successful slave revolt in history, the Haitian Revolution (1791-1804), in which the French Saint-Domingue experienced a 13-year-long power struggle between French slave owners and Black people to eventually become the independent Haiti. The immediate reaction to the revolt was to demonize and frame Black Haitians as being the perpetrators of violence instead of the victims (that is still a common occurrence today) when in reality, the 75,000 white French people that died during the revolution was significantly less than the 350,000 Black people that were killed. Media coverage and news reports of the Haitian Revolution emphasized sympathy for the oppressor and failed to mention the severe violence that Black Haitians faced, such as Cuban bloodhounds that were brought to Haiti and trained to capture and kill runaway slaves. French slave owners were killed, plantations and the colony's capital, Cap-Français, were incinerated and black revolutionaries were villified for their perseverance toward freedom. The brutalization of Black Haitians was normalized, dismissed and even advocated for prior to the revolution, yet when the violence was turned against the oppressors, supposed ethical disturbances arose and the victims became the villains.

Sex is viewed in countless ways across the globe and the sex industry capitalizes on various aspects, depending on the culture it is consumed in, but time and time again violence against women proves to be a common theme in the content we consume. If the sex is not blatant rape, forms of media such as music, television and pornography repeatedly highlight male aggression alongside female passivity and submission while romanticizing abusive relationships as something to be desired. The 'bad boy' trope is arguably one of the more popular stereotypes that is pushed through media that excuses and even encourages recklessness and aggression in men that is virtually always taken out on women. Obvious examples of this being executed in pop culture include Game Of Thrones' characters repeatedly raping and abusing their wives, Mötley Crüe's glorification of statutory rape in "All In The Name Of..." with the very first lyrics being "She's only fifteen, she's the reason I can't sleep / You say illegal, I say legal's never been my scene", and mafia fantasy books and literature, just to name a few. In porn, male aggression during sex- such as choking, hitting and silencing women- packages violence as an arousing fantasy that actually shows a positive correlation with aggression, meaning increased porn consumption is associated with an increase in aggressive behavior. It creates a grey area and misconception between how individuals interpret rape as being an act of sex instead of an act of violence. The constant consumption of this type of media normalizes this behavior and instills in those that watch it that women can and will tolerate this behavior while men are excused and oftentimes praised for it. It is crucial that we acknowledge that this behavior is not normal or standard and should not be expected from a partner.

Hardcore music scenes are often built on shared, liberal politics and using their music as a platform to express frustration and anger with the oppression that people face, though if the lyrics are not communicating these beliefs, they often contain lyrics that incite violence, not only against oppressors but against one another. There is even a sub-genre of hardcore music called 'beatdown' (admittedly my favorite sub-genre) that allows for a space where violence against others is integral to the music and its consumption. Many hardcore bands become popularized for their 'callouts' during live performances that are, essentially, a call to violence between specific sections of their song to encourage aggression within the audience. Just two days ago I attended a show where a vocalist said "break somebody's nose" during their set. Because the musicians are performing, it is obvious that the hostility should not be expressed toward the performers but instead toward each other. Ironically, where you go to find community and common ground, instead you find not only aggression but actual violence that often escalates to levels of throwing furniture across the venue into unsuspecting groups of people, bleeding from a hard hit to the face, and sometimes an audience member being targeted and jumped by more than two other people during a band's set. I don't say this lightly- every one of my aforementioned points I have witnessed first hand and sometimes fallen victim to; Hell, I have videos on this account that are evidence of casual violence in the hardcore scene. Funnily enough, this implementation of violence is arguably the most taboo and least socially acceptable out of the others I have mentioned in this post- why would you hit someone you don't know when they haven't provoked you? What is interesting about this instance of violence, however, is that this is one of the rare occasions where everyone is on the same page about it and there are little discrepancies between either side of the aggression- there is a sense of understanding and camaraderie that follows the violence. When the song ends, when the set is over, the same people that were throwing trash cans and swinging closed fists will approach their victims with a smile of respect for taking the hit and dap them up. There are rarely hard feelings after violence ensues because when attending shows in a scene such as a hardcore one, it is expected that you know what you are in for and if you don't, you will realize what the fuck is going on within the first thirty seconds of the set and react accordingly.

The boundary between violence being acceptable versus intolerable is very nuanced and specific to each person. After navigating various scenarios where violence occurs, we can find understanding in how we consume and respond to violence on a daily basis. Can violence be good? Can violence be arousing without oppressing women? Can violence create a better future for some people groups? I dunno, you tell me.

Sources:

Source on Hardcore Scene: trust me bro

[greengoblin0513]

Clips from my adventure to see Malin's Fountain by Thomas Dambo. The troll looms over my shoulder while I smoke in the offering bowl. This troll means a lot to me.

[greengoblin0513]

Quick Sketch. " Fuck Your 'Housecat' ".

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Personal favorites in The Art of Emily The Strange by Rob Reger & Cosmic Debris.

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I'm starting to think this belt is past its prime...

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I made some art for my mom.