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backwardshatnick · 13 days ago

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𝗁𝖾𝗒 𝗍𝗁𝖾𝗋𝖾 𝖼𝗁𝗋𝗂𝗌𝗍𝗈𝗉𝗁𝖾𝗋

in which a hopeless romantic songwriter living in borrowed apartments receives a response from the rich girl who has the world on her fingertips.

pairing: indie singer!chris x delilah!reader wc: 2.7k notes: highly inspired by hey there delilah by the plain white t's and @/yoleendadong's response to the song!! writing one-shots is so fun to me tehehe divider thanks to @redroud1 :D

Being an independent singer and songwriter was never easy. But for Chris, whose hands never left his first ever acoustic guitar, a wheat-coloured Fender CD-60S, courtesy of his father for his 10th birthday— the callouses on his fingertips and the constant neck and shoulder pain he endured was just another hindering obstacle that he had to live through to make his dreams come true. Growing up, his father’s vinyl records and cassette tapes blasted gritty and gravelly tunes in the dark living room of their house, Chris looking out the window which frequently rattled every time a train passed by as his head was filled with a hundred rhyming phrases and random words to go along with the song.

He was 12 when he finally finished his first song, a musical love letter that he was too shy to send out, dedicated to a girl who sat a row in front of him during a combined English class who he apparently never knew the name of. But the scent of her floral shampoo muffled the boring words of their teacher, the gears in his head shifting when she turned her head back to meet his blue eyes. She had not only the scent, but the overall presence that lingered even after she walked away from the hall with a profound smile given to Chris.

At 15, he started posting snippets of himself playing the guitar on his Instagram account— never shy from showing his face and bloopers when playing, to full-on publishing 4-minute song covers on YouTube. Nearing the summer holidays, his school would conduct open days in which he would perform some covers and original numbers. His hands would sometimes freeze, but the talent he possessed would always make the public pause, his vocals and melodious strumming accompanying the words he had written previously on paper and typed out on his Notes app.

It was not until he was 18 that he received his big break. All thanks to a stranger’s tweet of him, more precisely a grainy, 480p clip of him in downtown Boston with fingers dancing over the chipped fretboard of his guitar and strap held together by duct tape. The video went viral overnight, with netizens retweeting and reposting them with questions onto who “that boy whose voice sounds like a heartbreak” was.

A manager had reached out, followed by a few other indie record labels, leading to Chris, who now goes fully by Christopher Sturniolo, signing a record deal with a heavy backpack and his guitar flown off to the City of Angels. Chris started off with small gigs in bars, receiving just enough to pay for the rent in his cramped apartment where he only slept on the couch. Soon after, he got recruited to write jingles for talk shows on TV, but he was a hardworking and determined man, pulling off double shifts at a nearby record store just for the nostalgia of his father's own vinyls. His lonely nights at the studio apartment were usually welcomed with a hot Chinese takeout and a raw, messy and hopelessly romantic diary entry carolled alongside the gentle strumming of his new guitar.

His success was certainly tumultuous, ups and downs evident when his songs seemed to not hit the charts, but there was one particular fan DM that he had stored within the billions of screenshots he had in his gallery that he always goes back to whenever he doubted himself.

your songs feel like someone’s unsent drafts. rock on chris. i luv luv LUV you <3 <3 <3

Then came the gig in Brooklyn, New York.

The Hall of Americana, an intimate, 250-capacity show room which allowed him to connect closer with his fans with excellent sound quality. A quite chic interior with flashy strobe lights.

His manager told him that it was just a small venue in a big city, but one small show would not exactly change his life.

Chris did not believe her, not because of the small crowd, but because she was in the building.

She bore the same scent she had almost 10 years ago— flowery, the lavender and ylang ylang all mixed in with woody notes of patchouli like the clean summer air, standing across Chris and his manager with a clipboard in hand just a few meters away. He thought she looked familiar, the gold vintage watch too big for her wrist as she continued managing the logistics of the venue, clearly not made to chase the spotlight but instead to run it and make sure Chris’ gig goes as planned.

The backstage area smelled of wood polish and citrus, the liquid electricity seeping through the multiple crumpled tins of Mountain Dew which further added on to the buzzing adrenaline in the building. Chris was set to perform in a half hour, his fingers trembling just enough to mess with the tuning of his guitar.

He sat on a hard folding chair, his manager running through his setlist like a sergeant drill and reminding him to take sips of his water after each finished song, but he was too mesmerised by the scent that his hunched posture just could not balance the guitar in his lap. When she finally went up to the both of them, her velvet lanyard hung around her neck with authority, she stretched her right hand out to meet theirs for a handshake, the gold charm of her bracelet catching the stage light like a stray celestial body that forgot that it was not supposed to gleam indoors.

“Christopher, right?” she asked, eyes flicking up briefly from her clipboard.

He blinked, wiping the sweat of his clammy hands on his jeans, “Yeah, that’s me.”

“Cool. Just had to make sure that you’re alive. Soundcheck guy was panicking when he couldn’t find you,” she answered, lips held together tight without a smile. Not just yet.

“I’m very much alive,” Chris chuckled, “Just tuning my guitar. And my nerves.”

“Well, your nerves sound very sharp,” she finally smirked, but her eyes glinted with concern and tenderness, “Music joke, by the way.”

“You know music?”

She tilted her head at his amusement, “My dad owns this place. Raised with drumsticks in hand and isolation headphones over my head. It was either I learn music or just pretend I understood everything my dad’s coworkers were talking about when it comes to instruments.”

“Sounds like fate,” he joked.

“Fate?”

Chris set his guitar down carefully and stood up to meet her eyes, “Like maybe I wrote all my sad little songs just to end up performing in front of the boss’ daughter.”

Her little smirk transformed into a smile, the corners itching to show more of her astonishment, “That line ever worked on anyone, Chris?”

“Never tried it before,” he guffawed, “Maybe it would when I finally know your name.”

“Just call me Dee. And your set starts soon,” she cleared her voice, trying her best to regain her professionalism, “Encore only if the crowd begs. You’ve got two hours to impress them.”

Chris bit his tongue, fighting his urge to declare that he would stay the whole night if it meant that she would watch. But he knew that was reckless and way too soon. Why would he freak her out at such an early stage?

Scratching the dialogue out, he opted for a safer one, “Will you be out there?”

“Maybe,” she shrugged, “I don’t usually stick around but you seem to be decent. Considering the full house.”

“Just decent?”

“Fine. Sentimental. Charming. Not really my thing, but I am intrigued.”

But before he could come up with another witty reply, a booming voice asking for a “Miss Dee” had called out from the team of lighting technicians, interrupting their short exchange.

“Guess that’s my cue to leave. Break a leg out there!”

And then she was gone, leaving behind a wafting trail of her lavender-scented hair and the sound of her sneakers squeaking against the wooden floorboards as Chris’ heartbeat filled the room like a bass drum.

An hour and a half had passed as Chris performed seven of his hits to the crowd, their cheers deafening but enough to make the smile etched on his lips carve permanently. He scanned the crowd, appreciating each and every face that had help him make things possible. Leaning against the far wall with arms crossed over her yellow blouse, he finally spotted her from the stage, her phone tucked somewhere in her jeans as she intently watched his performance.

Listening to his charming sentiments throughout the whole performance.

He tried to find her again after the show, but to no avail.

And in similar hopeless-romantic-songwriter manner, Chris could not fall asleep in his hotel room that night. His hair was still slightly wet from the shower he took immediately upon reaching his hotel, but his mind wandered throughout the three letters of her name, something about it clutching at his heart like a punch of nostalgia to his chest.

Chris laid on his back, trying to savour the plush mattress of the hotel’s bed as he knew that this privilege would be lost the moment he returns back to Los Angeles the next day. However, despite the city’s quietness, he was still restless. His hands itched to grab onto his guitar as if it was the only thing that understood what he was feeling when his fingertips meet the steel-plated strings.

“Dee… Diana, Daisy, Destiny, Dahlia,” he muttered, the pencil that was previously on his ear now in his grip, crossing out name after name that he seemed to be unsatisfied with to fit in his new song.

His apartment was quiet, the soft buzz of his fridge and the occasional hum from the incandescent light of the living room making the world feel paused. Additionally, the place was a mess too. Chris’ travel bag still unpacked with New York memorabilia and a pile of laundry ignored as he was still attached to let the small show go, him feeling as if he was stuck in a loop ever since her scent came back to haunt the inner 12-year old boy he was.

“Delilah,” he whispered to no one, “Sounds poetic enough.”

Chris balanced the guitar across his lap and looked around his room before settling on the notebook by his side, scribbling out the other names he had chosen prior and finally filling in the blanks between his metaphors with the verse-like name.

He started picking at the strings, the chords harmonising together with his voice as satisfaction slowly brewed within him which warmed his whole body. Chris finally found the perfect pattern, his thumb with the bass notes on the lower strings while his other fingers reached above to pluck on the higher strings.

D—F#m—D—F#m—Bm—G—A—Bm—F.

His fingers naturally continued their picking over and over again before his mind had caught up with the right tempo to match the words on his notebook.

“Hey there, Delilah. What’s it like in New York City…” Chris paused, looking out from his apartment windows where the Hollywood sign greets him. He knew she was out there in the industry, but she was still out of his reach. No goodbyes shared, only leaving him behind with a knowing smirk and the half-joke about his music being too sentimental.

He finally continued, “I’m a thousand miles away, but girl, tonight you look so pretty—”

He visibly cringed. That felt a bit too much, but it was honest. He proceeded to lean into the melody and the lyrics until it finally clicked to him. The song was not made to impress her, but it was about talking to her as if she were seated across from him, with a straw in her mouth sipping on apple juice as she rolled her eyes at the parts where Chris got too earnest. Too sentimental.

His heart started to race as he continued to scribble faster, the pages of his notebook now filled with half-scribbled lines, scratched-out metaphors and arrows pointing to nowhere when the song started to make sense. And by the time his masterpiece was done, the chords marked out carefully above each verse where the note changes, the sun had already started to rise as Chris tapped the pencil repeatedly on his chin, trying to think of a title for the song.

Until he had decided to scrawl a quick ‘Hey There Delilah’ followed by the date of his Brooklyn gig.

It was half past one when she found the song through an Instagram reel shared to her by her interns.

is this about you???!!!! cos ur name!!! AND the date of the show back in brooklyn!!!!

Curiosity fogged her mind, sighing as she tapped on her notification and expecting something dumb to play. Instead, she heard a soft, familiar voice introducing a new track to be released the very soonest.

She froze mid-sip of her chamomile tea upon reading the caption, coincidentally when Chris started the first verse of the song.

Hey There Delilah, wrote this the night of 06/02/2025. Releasing soon. Enjoy.

Her chest tightened, staring at his eyebags and dark circles prominent against the acoustic setup of his studio apartment. The video was dimly lit, casting an unavoidable focus on Chris’ tired appearance but his jet blue eyes which stared occasionally at the camera seemed to be sending her a message. Her name and her city resonating close to her as the guitar-picking continued to latch on her senses.

She shut the app almost immediately as her heart could not stop palpitating. Her chamomile tea was long ignored as she found the typically calming white walls of her room suddenly dingy, the night lamp feeling a bit too yellow for her liking while continuing to pace around her bedroom in her pink bunny slippers.

“Fine,” she hushed, cracking her knuckles before opening her closet door, “You wanna write me songs? I’ll definitely write back.”

She did not even bother turning on her lamp— it was just her guitar that was slightly dusty from being hidden in her wardrobe, her night lamp and the moon as her fingers strummed away to the song’s similar chords. She started to sing, words honest and careful before she reached out for her journal to write out the proper lyrics for her response.

Hey there, Christopher. How’s your night after the concert? It’s so late in NYC, but boy, you make me lose my senses, Because you’re you. Put you next on the billboard because you’re just you. I swear it’s true. Hey there, Christopher, do you miss me or this city? I’m right here feeling lonely, so guess I’m writing you this letter, As a song, listen to my voice and tell me why, I wanna cry.

By 04:04, she was finally done with recording. The pen’s cap thrown away somewhere within her room as she did not bother to edit the video to make herself look the slightest bit better. Her hair covered most of her face where it was bare and glossy after her skincare routine, but the raw honesty of it depicted the perfect response where it escorted just her and her chalky Martin D-28, alongside the ghosts of every unspoken word between them.

She lounged for a bit in her lavish snug couch, something that Chris clearly would replace his tattered sofa-bed with, finger hesitant to press ‘share’. Shaking her head, she thought to herself, “Nope, not yet. This isn’t the right time.”

Exiting Instagram, she opened her email app instead, scrolling through the numerous pending work emails before finally settling on a shared Google document from weeks ago, concerning the greenroom schedule of her father’s concert venue that was shared to Chris’ management.

She typed Chris’ work email address on the recipient box straight away, alongside the video of her singing in the attachments. But she knew better than to send him an empty email that could risk getting flagged as spam again, so her fingers hovered over the subject and body, until finally settling on an honest, but succinct description, hoping that the music had spoken enough for her.

Recipient: [email protected] Subject: My little harmonious take to your melody Hey there, Christopher. Hope I’m still in tune. - Dee (aka Delilah). P/S: How’d you even figure out my real name. Attachment: delilah_response.mp4

#chris sturniolo #christopher sturniolo #chris sturniolo x reader #christopher sturniolo x reader #chris sturniolo fluff #chris sturniolo angst #chris sturniolo fanfic #chris sturniolo x you #chris sturniolo imagine #chris sturniolo oneshot #sturniolo triplets #𓏲˚˖♡𓂃 olive writes #Spotify

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religion-is-a-mental-illness · 2 months ago

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By: Maia Poet

Published: Apr 11, 2025

When I began to find myself swimming in a sea of trans content at the age of 12 in 2012, one of the first stories of "trans kids" I saw was the story of Jazz Jennings. I watched grainy, low-quality footage from his 2007 special. Even though Jazz is only one year younger than me, I thought he was much younger—because I was seeing him at six years old when I was already 12. It didn’t occur to me until months later, when I saw one of his more recent media appearances, that I had been watching a video from five years ago. That was my level of life perspective at the age when I declared my trans identity— I didn’t understand that the change in video image quality was a sign of how old the video was. When I realized that Jazz was around my age, I was stunned.

From there, I consumed every video I could find about "trans kids." There were only a handful of documentaries and talk show appearances. Once I’d exhausted those, I moved on to watching content created by adult transitioners. I began studying the intricacies of hormonal and surgical “sex change.” I watched hours of footage of women ten years older than me binding their breasts, and vlogging about ‘top surgeries’. Within two years, many of them had full beards and were talking about their mastectomies the way I talked about going to the trampoline park with my family— as a joyous, gravity-defying liberation of the Self.

When I finally got my own phone and was old enough to make a Facebook account, I even messaged a few of these adult women whose gender transitions I had watched play out over the course of my adolescence. If I had more understanding of how the world works, I would have known that I could have lied about my age to get onto the platform earlier. I was that naive. In retrospect, as a young adult myself I’ll never understand why those adult transitioners chose to respond to the messages sent to them by a 14-year-old. But that’s beside the point.

The point is, that as a pre-teen, I became so obsessed with understanding this phenomenon that by my early adolescence I memorized all of the information available to me online at the time. And because I already had a habit of being an elementary-aged kid who read parenting books and researched niche medical conditions, it was easy for me to convince myself that I, too, was a "trans kid" who in the absence of experimental medical treatments, would very well die.

Far before most people had even heard of this issue—and long before it became a teenage identity trend—I knew almost everything there was to know about transgenderism. It’s odd now to see adults twice my age acting as though this phenomenon came out of nowhere. I didn’t just see it coming. As a 12 year old who adopted a trans identity in 2012, I predicted it. I grew up immersed in all things ‘trans’. I watched this phenomenon morph in real-time from the narrative of old-school transsexualism into the invention of the "transgender child," and finally as it pervaded into the dominant youth culture of my ‘non-binary’ generation.

Many times during my detransition journey, I’ve asked myself the same haunting question: Where was everyone when Jazz Jennings got castrated?

In order to answer this question, I will publish this piece in two parts. Part one will focus on the ways in which mainstream media and medical authorities partnered to create the “transgender child” within the Western collective consciousness. Part two will focus on how collective shifts within parenting trends and attitudes about child-rearing amongst middle and upper middle class families, in combination with rapid shifts in the availability of internet-connected technologies— created a perfect storm of factors which culminated in the ‘transgender tipping point’.

I hope these papers will inform the public about how trans issues have gone from an unknown obscure topic, to the subject of a raging culture war— seemingly in the blink of an eye. I believe that trying to dissect the culture itself through the case study of Jazz Jennings, readers will come away from these essays with a greater understanding of the complex sociocultural and medical underpinnings of today’s trans phenomenon. After reading this paper, let me know how I’ve done!

The Jazz Jennings Phenomenon

[ Barbra Walters interviewed six year old Jazz Jennings in 2007. The “trans kid” narrative had just been born. ]

In 2007, America was introduced to the story of Jazz Jennings, a six-year-old boy from Florida whose parents had decided to raise him as a girl and share his story publicly. Cameras followed Jazz and his family as he grew up, chronicling his transition for an audience captivated by what was presented as a courageous and heartwarming journey of self-discovery.

But beneath the uplifting narrative was a far more troubling reality. At age 11, Jazz was chemically castrated to halt his male puberty. In high school, he was prescribed cross-sex hormones, which, when paired with early puberty suppression, rendered him permanently sterile. By 14, he was the star of the reality show I Am Jazz. In 2018, at age 17, the cameras followed him, hugging a teddy bear, into the operating room as surgeons attempted to construct a simulacrum of female genitalia from his underdeveloped male anatomy—an operation so experimental that multiple follow-up surgeries were needed to address serious complications.

[ 17 year old Jazz held a teddy bear as he waited to be wheeled into the operating room for his penile inversion procedure, aged 17. ]

Despite the fact that every stage of this boy’s process of being indoctrinated, exploited and maimed—was filmed and broadcast for national and international audiences, widespread concern over what was happening to Jazz did not surface until about 2021—far too late to intervene or prevent the damage. With millions watching I Am Jazz, no prominent voice broke through the mainstream media to question what was unfolding before America’s very eyes.

So again we must ask: Where was everyone when Jazz Jennings got castrated?

The Creation of the “Transgender Child” Was Televised.

The short answer is that we were all sold a story. We were led to believe in the existence of a new category of person—the “transgender child.” Most Americans were familiar with the concept of a transsexual, which in the schema of the 2000’s-era adult, was either a gay drag queen who “took the next step” or a middle-aged, married crossdresser with a wife and kids. The transsexual wasn’t an adult female on testosterone. The transsexual certainly wasn’t a child.

Jazz’s case was the first to introduce this idea to the English-speaking world, featured prominently on 20/20 with Barbara Walters. His parents claimed they had always known Jazz was “different”—even pointing to behavior as early as 15 months old, like unsnapping his onesie, as evidence of a cross-gender identity. Unlike Jazz’s older twin brothers, Jazz did not grow out of his ‘girly’ phase by the time he was a pre-schooler. He continued to be a gentle boy, not a rough and tumble one. So, his parents decided to see an “expert” gender therapist in 2003— while the child was probably still in diapers.

The documentary featuring Jazz Jennings, alongside a few other “trans kids” called My Secret Self presented gender dysphoria as an innate, intractable condition detectable in small children and treatable with a medical protocol we today know was imported from the Netherlands. While it acknowledged the experimental nature of these treatments, this fact was easily obscured by the narrative that without such extreme, irreversible interventions being done on young children- that these children were doomed to end their lives. Viewers were reassured: no permanent changes would occur until Jazz was older and better equipped to make informed decisions.

But this was a lie of omission. Social transition in childhood, especially when paired with puberty blockers, is not a neutral intervention—it entrenches a cross-sex identity and all but guarantees progression to cross-sex hormones. We now know that over 98% of children who begin puberty blockers proceed to further medical transition.

The idea that blockers merely “buy time” has been thoroughly debunked– but only after a generation of children were sacrificed. What’s even worse, is that the Dutch clinicians who created this child transition treatment protocol, themselves advised against the early full social transition of a child prior to the early stages of puberty.

A Story That Subverted Our Common Sense

[ Jazz instilling his childhood passion of creating mermaid tails into another little boy whose parents are raising him as a girl ]

Jazz’s story was compelling because he was photogenic and looked feminine: he had long hair, princess dresses, a love for Disney songs and mermaids. His mother even speculated that Jazz’s love of mermaids was related to their lack of genitalia—a theory she picked up from other parents of gender-nonconforming boys on internet forums. But many kids, both boys and girls, in the early 2000s loved mermaids because of The Little Mermaid. It wasn’t because of a pathology. It was a trend.

This shows a broader trend of how the parents of “trans kids” have a tendency of scrutinizing their child’s every behavior as evidence of some problem just itching to be solved. They are superimposing their own adult analysis onto a child’s behaviors, in order to derive meaning from them.

An adult who has tons of kids and is working multiple jobs to support them wouldn’t fixate so much on which fictitious character their child is obsessed with– nor would they have the time to construct an elaborate fairytale about why the kid wants to become that thing. But if you’re like Jazz’s parents, who are wealthy enough to have four kids living in a big house, who were really on the cutting edge of child-centered parenting, and who happened to have a kid who was very gender non-conforming– you’ve got yourself a perfect storm to find yourself as the parent of a “trans kid.”

Many young boys go through phases of dressing up as princesses. In Jazz’s case, what might have been a passing interest, or one that evolved into a career in dance, theater or fashion design— became a diagnosis. His parents, like many of those who now champion their young “trans kids,” were not initially ideologues. Most began as concerned, bewildered, or overwhelmed—struggling to soothe their distressed child and feeling inadequate in the face of it.

In today’s climate, these parents are swiftly ushered into the world of gender medicine. Pediatricians refer them to gender clinics, where experts frame early social transition as harmless and reversible. The same experts falsely claim that puberty blockers are reversible interventions which “pause” development so a child can consider whether they wish to proceed to cross-sex hormones, and that blocking healthy puberty in its early stages is something which must be done urgently, as a form of suicide prevention. Out of love and fear, parents hand the reins to medical professionals—believing they’re doing what’s best for their child. Importantly, all of these life-changing psychosocial and medical interventions are framed as neutral, harmless opportunities for self-exploration. Even as a child’s puberty is being actively suppressed, parents are lead to believe that no permanent, life-altering decisions have been made yet. They are given a false illusion of having ‘more time’ to decide upon the future opportunities which will be available to their child, not understanding one basic truth:

The first permanent decision regarding a child’s gender transition is often made much earlier than parents realize. Social transition in early childhood initiates a path that almost always leads to medicalization. Puberty blockers interrupt natural developmental processes necessary for resolving gender distress. By the time cross-sex hormones are introduced, the child’s trajectory has already been firmly set for years.

How the Dutch Protocol Created the Market for Trans Children

[ Jazz Jennings and the doctors who removed his genitals ]

The widespread belief that pediatric transition was a response to an existing and urgent medical need ignores a crucial reality: the existence of medical interventions for children with gender dysphoria has itself created the demand for those very interventions. The Dutch Protocol, which introduced the use of puberty blockers followed by cross-sex hormones in carefully selected adolescent patients, did not emerge in response to a large population of children begging for medical transition. Rather, it introduced an entirely new treatment pathway that shaped how gender dysphoria was understood and managed—one that was soon exported across the Western world.

Developed in the Netherlands in the early 1990s, the Dutch Protocol was initially presented as a compassionate innovation for a small group of carefully screened adolescents whose gender dysphoria was severe, persistent, and began in early childhood. These adolescents were described as psychologically stable, supported by their families, and free of major comorbid mental health issues. The protocol’s authors claimed that, for these specific patients, early medical intervention could reduce distress and improve quality of life. Mostly, these clinicians seemed concerned with the ability of these young (mostly) boys to “pass” as women in adulthood, as a way to correct for the difficulties faced by adult transsexuals who attributed their mental health and life difficulties following transition— to their inability to pass as the opposite sex in adulthood.

But the Dutch studies that laid the foundation for this protocol were small, lacked control groups, followed participants for only a few years, failed to keep rates of loss to follow up within a clinically negligible level and were deeply methodologically flawed. Despite this, the model was rapidly adopted internationally as the gold standard for pediatric gender care. Before any outcomes were published on the Dutch kids, the practice of transitioning kids was adopted with full confidence in countries like the United States, where the cautious gatekeeping of the original protocol was largely abandoned. Screening criteria were loosened, psychological evaluations were fast-tracked, and transition timelines were compressed. What began as a narrowly defined intervention for a rare group of patients became a mass treatment pathway for any child who expressed discomfort with their sex.

As more clinics adopted the protocol, more children were referred for treatment. As more children were referred, more clinicians trained to meet the need. As medical infrastructure for youth transition expanded, so did public awareness—and with it, parental anxiety that they may not be doing ‘enough’ to ‘help’ their gender non-conforming children, by simply allowing them to grow up without psychosocial or medical intervention. Suddenly, any child questioning their gender could be perceived as a ticking time bomb. The narrative of “better a trans kid than a dead kid” spread, not because the risk of suicide had been proven to be high in non-transitioned children, but because it had become a rhetorical tool to justify medicalization.

In this way, the existence of a medical treatment pathway for gender dysphoric youth created the perception of a crisis of “trans kids not getting the healthcare they needed.” The “trans child” was no longer an anomaly but a potential reality for any child who failed to conform to gender norms, and then– a reality for any kid no matter how gender-conforming they were in childhood, to declare themselves as trans in adolescence, and to find themselves on an operating table where a surgeon carves away at their healthy bodies in a futile attempt to create for their patients, a new metaphysical reality.

Where once clinicians waited for children with intractable dysphoria to emerge from adolescence before prescribing interventions, they now trained parents, educators and pediatricians, to look for signs of gender nonconformity in children—converting ordinary developmental exploration into medical red flags.

Jazz Jennings became the poster child of this new paradigm. His transition was held up as proof that early medical intervention could be a success story. But what was never mentioned was that Jazz’s transition was not done by the criteria of even the Dutch Protocol. He was socially transitioned in early childhood, long before the onset of puberty, and he began puberty blockers at age 11. Because his male genitals never developed, surgeons later struggled to construct even a functional approximation of female anatomy. Jazz’s experience exposed the flaws in the protocol’s logic: puberty suppression might prevent unwanted physical changes, but it also stunts the very development needed for later surgeries. In trying to erase male puberty, clinicians created new medical challenges—ones Jazz paid the price for.

Almost a decade before Jazz had his penile inversion procedure, the Dutch clinicians already knew that boys with suppressed pubertal development would need a more invasive procedure involving tissue from the colon to make up for the lack of genital development. Yet, for some reason, it doesn’t seem that any of the clinicians treating him were aware of these findings, nor did they make him or his parents, or the public whom they were actively propagandizing to, aware that a more complicated surgery is the inevitable, well-known outcome of early pubertal suppression in juvenile males.

Today, the Dutch Protocol is being re-evaluated even in the country where it began. Dutch clinicians have acknowledged that their original research cannot justify the global expansion of pediatric gender medicine as it has come to exist. Will that stop them from justifying their protocol on other grounds? No. Definitely not. But, systematic reviews in Europe have found that the evidence base for youth transition is weak, and that the risks may outweigh the benefits. The world is beginning to wake up to the harm inflicted upon children in the name of ‘compassion’ and ‘mercy.’

Pediatric social and medical transition protocols were not a response to rising rates of gender dysphoria, nor an ‘uncovering’ of a dysphoric population of kids who always existed but were finally receiving the “‘life-saving” treatment they deserve—it just created lifelong medical patients out of healthy children. Gender medicine, both for kids and for adults, offered solutions that promised to resolve complex psychological distress through medical means, while failing to address the root causes of that distress. And it created an illusion of necessity, when in truth, what had changed was not the metaphysical nature of the children, but the treatments made available to them.

Norman Spack & Ken Zucker: Two Different Treatment Protocols

[ Norman Spack describes “salivating” at the pediatric transition protocols of the Netherlands ]

The rapid shift toward medicalizing childhood gender distress did not happen spontaneously—it had architects. One of the most pivotal was Dr. Norman Spack, a pediatric endocrinologist at Boston Children’s Hospital, who helped bring the Dutch Protocol to North America. After learning of the work being done in the Netherlands, Spack was reportedly so eager to adopt puberty suppression protocols for children that he later described himself as having “salivated” at the idea of blocking puberty in gender dysphoric youth.

Spack opened the first major pediatric gender clinic in the United States in 2007, the same year Jazz Jennings’s story went public. He was not alone in his enthusiasm. By the time Jazz was a toddler, his parents were already being told that puberty blockers would be available to prevent their son from developing into a man. This promise was made long before Jazz reached puberty, long before he had even learned to tie his shoes, and more importantly, long before there was any robust, long-term evidence showing that the Dutch cohort fared better than their non-medicalized peers. The idea that “doing nothing” was cruel—and that intervening medically was compassionate—had already taken root.

[ Ken Zucker— the man, the myth, the legend. ]

This marked a dramatic departure from the predominant therapeutic model of the prior decades, as practiced by clinicians like Dr. Ken Zucker. Zucker, a psychologist at Toronto’s Centre for Addiction and Mental Health (CAMH), focused on helping children explore and potentially resolve their gender distress without affirming them as the opposite sex. His approach—common throughout the 1990s and the 2000s after being practiced in earlier decades—emphasized watchful waiting, play therapy and parenting strategies aimed at reconciling the child with his biological sex—rather than socially transitioning or medically affirming the gender distressed child. Zucker recognized that the vast majority of gender-dysphoric children would ultimately reconcile with their natal sex if left alone, and his research showed this to be true.

His approach was grounded in the simple fact that, at the time, there was no medical intervention to offer these children. Puberty blockers and cross-sex hormones for minors were not yet part of mainstream medical practice. This therapeutic orientation existed not only because it was cautious, but because it was all that existed. Because medical transition was off the table, clinicians were forced to understand gender dysphoria as something that could evolve—and often resolve—over time.

The emergence of puberty blockers as a tool for interrupting development radically altered that framework. Once medical interventions were available, the question was no longer, “How should we help the child learn to accept their body?” but “When do we start altering the body to match the child’s stated identity?” The very presence of a medical option redefined the ethical terrain—and subtly, but powerfully, redefined what was seen as “affirming,” “progressive,” or even “life-saving.”

This shift did not occur because new evidence demanded it, but because a new possibility existed. And it was this possibility—not a genuine explosion in a new strain of particularly intractable childhood gender dysphoria—that drove the ballooning rates of pediatric transition. Once clinicians could prescribe blockers, more parents began to seek them. Once parents began seeking them, more clinics opened. Once clinics opened, more children were diagnosed. And once children were diagnosed, the cycle reinforced itself—bolstered by an uncritical media, ideological activism, and a medical community eager to innovate before fully understanding the consequences of the past experiments done on earlier cohorts of adolescents and adults.

Jazz Jennings was swept into this current at the very beginning. His journey, far from being an organic expression of his inborn “gender identity,” was shaped at every turn by the availability of interventions that had only recently entered the medical arena, and by the burgeoning American obsession with reality TV shows centered around extreme variations within different parenting styles. By the time Jazz’s trajectory was cemented with an early social transition, he no longer fit neatly within the original Dutch Protocol criteria. The practice of early childhood social transition showcased a new ethos– not that many of these kids would naturally grow out of their distress, and that caution is required, but that these children were doomed to never outgrow it. That is, at least, the bold-faced lie which Jazz’s parents allege was told to them by the therapist who diagnosed their toddler with Gender Identity Disorder in 2003.

He had not even reached puberty when the path of medical transition was laid out before him. He never had to contend with the fact that someday he would become a man. By the time he was five, he was fully convinced that his (or his mother’s) childhood fantasy could continue forever.

The story of the “transgender child” is not a story of new, emerging science responding to a medical need that has always existed. It is the story of medicine creating a new patient population—and a society that eagerly embraced it, blind to the harm it might cause– because the “experts” who stood to gain so much in profit by recommending intervention over non-intervention, would begin to develop a bias in the way they approach medicine: to prioritize the short term happiness of a child over his long-term well-being.

Reflections

As I look into Jazz’s story, with an understanding of the way that medical interventions for pediatric gender dysphoria spurred a cultural shift in how we understand the nature of children, I am left with so many more questions.

What really did Jazz Jennings’s parents know about the pathway they were signing their son up for? I know that the Jennings’s were aware of how experimental these interventions are. But, I often wonder whether they even knew that this treatment protocol they were signing their son up for, was pioneered by clinicians in the Netherlands, who had been doing these treatments for less than a decade by that point. I wonder if they were even aware that there were non-medicalized models for treating pediatric gender dysphoria which showed promise, and had been practiced for far longer than the medicalized ones. Were they even made aware that they had options other than “a dead son or a living daughter?”

What exactly did their toddler’s gender therapist tell them about the nature of their son’s condition? I wonder why Jazz’s parents were told by the gender therapist who diagnosed their toddler son with Gender Identity Disorder in 2003, that it was unlikely that their son would outgrow his distress and reconcile with his sex— when everything in the literature of that time suggested the opposite. If this was what the therapist indeed said, this isn’t just a spiritual belief in a gendered soul passed off as medical advice— this is a clinical pathway sold to parents of a toddler on the basis of a bold-faced lie. The dogma that “kids know who they are” would not emerge into popular culture until after Jazz’s social transition as a kindergartener had commenced. Something about this arc of the story is fishy.

Were Jazz’s parents not told that early gender non-conformity is more indicative of a later homosexual outcome than a transsexual one?

Did Jazz Jennings’s endocrinologists not know that early pubertal suppression in juvenile males stunts genital growth and necessitates an even riskier “gender reassignment” surgery? Because the Dutch clinicians who had been suppressing boys’ puberties for about 20 years by the time Jazz got his puberty blocker implanted— certainly did. This ‘side effect’ of pubertal blockade was reported on in a Dutch newspaper. Did no one think to communicate this to…. anyone???

Don't underestimate the willingness of his mother - because, let's face it, it's never the father without the mother - to sacrifice her child for fame, money, attention and particularly applause at how virtuous she is.

#Maia Poet #Jazz Jennings #trans kids #trans children are victims #transhausen syndrome #munchausen syndrome #munchausen by proxy #medical mutilation #medical malpractice #medical scandal #medical corruption #dutch protocol

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agerefandom · 1 year ago

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20 Questions For Fic Writers

I was tagged by @nostalgic-woodwind and I thought it looked fun, so here we go!

1.) How many stories do you have on A03? 59 on my main account and 5 on scattered other accounts!

2.) What's your total A03 word count? 144k on my main and an extra 37k on my other ones!

3.) What fandoms do you write for? Way too many!!!

4.) Top 5 fics by kudos? 1- Class Outing (BNHA, 1,399 kudos) 2- from a different blog (Disney, 900 kudos) 3- Only Heaven I'll Be Sent To (Resident Evil, 857 kudos) 4- Cold Palms, Warm Words (Twilight, 691 kudos) 5- The Doctor's Office (Twilight, 521)

5.) Do you respond to comments? Only on tumblr!

6.) What is the fic you wrote with the angstiest ending? Probably Something Wrong (BNHA) but also Wrapped In Silken Dreams (Black Butler) was pretty dark with the ending

7.) What's the fic you wrote with the happiest ending? Uhhhh I tend towards fluff but maybe Kitchen Friends has the biggest hurt-to-comfort arc?

8.) Do you get hate on fics? Not on my fics! I'll get hate comments on my agere art sometimes, and on my Hazbin Hotel content occasionally, but that's it. Never on AO3, I don't think.

9.) Do you write smut? Not on this blog!

10.) Craziest crossover? The first fic I ever published on my main AO3 account was a Supernatural/Sherlock/RPF crossover: I was forced to make an AO3 account to post it because ff.net didn't allow actor fics. It's still up on my account, but I can't say I recommend it lol

11.) Have you ever had a fic stolen? At least once, yes!

12.) Have you ever had a fic translated? Hmmmmm I think my Sanders Sides content was translated into Russian at one point, but none of my agere content.

13.) Have you co-written a fic before? Only once, and it was on ff.net, and it was with my grade nine girlfriend.

14.) All-time favorite ship? Destiel, Valduggery, and Lawlight are my top 3 OTPs, in that order.

15.) What's a wip you want to finish, but doubt you ever will? My reader and Hannibal fic!!!!! I want to finish it SO BAD but it never works when I try and work on it!!

16.) What are your writing strengths? Character development, combining dialogue and action to make a full picture of a scene, keeping dialogue mostly in-character.

17.) What are your writing weaknesses? Consistency, sentence variety, typically boring introductions and ending to my stories.

18.) Thoughts on dialogue in another language? Not really sure what this one is asking: I feel nervous writing in other languages because I'm only semi-bilingual in French, so anything else would be a google translate mess: I typically just italicize the dialogue and "translate" it into English.

19.) First fandom you wrote in? Skulduggery Pleasant: my first fic was a death/whump fic based on My Immortal by Evanescence and I wrote it on my ipod touch while I was backstage at a dance contest that I'd already performed my part in, in 2009, at the tender age of 11.

20.) Favorite fic you've written? Oh! Um, probably Heading Home Again. It's not an agere fic but it's T-rated and it's a fanfiction about fusion in the Marvel universe. It holds up when I reread it! My favourite agere fic I've written might be Something Wrong, to be honest.

If you'd like to participate, I'd like to tag some faves: @sleepy-lil-kit-kat, @paper--moons, and @mcschnuggles, but absolutely no pressure <3

#ask game #stella babbles #ask to tag #shipping mention #i actually need to post a couple fics on ao3 because i never transferred them from tumblr haha #get that word count up!

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artleaguemdcnorth · 8 months ago

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ALL CLASSES - MUSEUM ASSIGNMENT AND ART WEEK - 11/25/24

All classes will be required to attend a museum or an art gallery starting this Wednesday (11/2/24) through Art week of next week.

Keep in mind that next week the events are going to be busy and with a lot of traffic in the city.

It is advisable that you attend either this Weds and /or Saturday or Sunday.

Museum/ Art Basel week inspired art work.

You will be required to create a museum or gallery inspired artwork.

During Art week and already starting this weekend, there will be many events throughout the city .

My classes always participate in this experience as it is a unique event that only happens here in Miami.

I encourage students to attend in person any of the following collections below.

Most of them are free (specially during this week) but I encourage you to find out about any fees on their websites.

The list of locations to visit this week is noted below:

1) ICA

2) MOCA - North Miami

3) LOWE Museum at UM

Starting Art week here are more options;

4) Rubell Museum

5) El Espacio 23

6) Perez Museum

7) Wynwood Walls

ICA is located in Midtown (41st and N. Miami Ave.)

Moca is in North Miami.

Lowe is located at University of Miami.

If you are attending during Art week:

Rubell and El Espacio are near each other can be visited at the same time.

Perez is in downtown Miami near Wolfson Campus.

I encourage students to attend events in person.

All classes will need to attend during this weekend and or next week during Art week.

All these different venues show students what the Art market is like.

You will have an opportunity also to see amazing works of art.

VISITING ART EVENTS Virtually

I have allowed a few students to the virtual format.

If I have given permission to you personally you can do it in this manner.

The links will be above this post.

As you visit the venues take a photo of yourself at the location you visit with your favorite artworks.

( If you are doing the virtual one you take a photo of yourself with the laptop)

Document your visit on Threads with hashtag #ARTWEEKMdcNorth .

Include those photos with the artworks you create and an artist statement on the due date.

For the artist statement make sure you talk about your experience visiting any of these Art venues.

If you have or have not attended art spaces during Art Basel week answer the questions below in your artist statement :

Artist Statement

Write a few paragraphs for your Tumbler post addressing the following questions. This is a college level writing assignment.

1) How did you enjoy participating in this activity?

2) What did you like best?

3) If you attended a gallery and a museum which venue did you enjoy best and why?

4) Which was your favorite location and why?

5) How did you approach creating your artwork(s)?

You need to plan to attend for the equivalent time of one or two classes. That means you will spend from 2 to 3 hrs inside the space.

ALL students will post photos of themselves at the venue they visit and share those photos via their threads account with hashtag noted above.

2D ONLY - this class will submit their museum paintings on the same day you post your curated portfolio 12/9/24.

This class will create THREE abstract composition on Bristol paper measuring (8 x 10) based on work from the collection listed above.

ALL OTHER CLASSES WILL BRING THE ASSIGNMENT TO CLASS FOR FINAL CRITIQUE

Drawing Class

Create a response artwork inspired by your visit .

You can work on Bristol paper cut it to 16 x 20 size.

Painting Class

Create ONE painting inspired by your visit any size between 9x 12 or 16 x 20.

Figure Drawing -

One of your final drawings will be inspired by your visit to these venues. I will talk more about it during class tomorrow.

FINAL NOTE

All Classes will receive a class grade for this assignment that will be added to your overall score at the end of the semester.

Except for the 2D class, All museum work needs to be brought to respective classes by day of Final Critique.

Lastly, have fun and try to enjoy the events.

For other events next week:

VIRTUAL OPTIONS:

LASTLY, THESE ARE SOME MUSEUM INSPIRED PIECES FROM PREVIOUS CLASSES:

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caltropspress · 2 years ago

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RAPS + CRAFTS #19: AJ Suede

1. Introduce yourself. Past projects? Current projects?

Suede God. Do your homework on my double digits of projects.

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

I write any and everywhere when inspiration strikes. I get some of my best work done on public transportation. In the past, I've written my best hooks on the drives to and from jobs. Nowadays, it’s more about atmosphere than location.

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

Notes pad but not limited to that. If I could, I’d do the Jay-Z thing and memorize bar-for-bar, but at this point I just write everything down so I don’t forget.

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

I write in ways that are more like mathematical equations. Time signatures, iambic pentameter, and rhyme schemes I vaguely remember from smoking before my 10th grade English class in the Shakespeare unit. That mixed with the fundamentals. It’s all math.

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

Complicated question because even the “bad” stuff can be repurposed when it’s in season. Some of the bars might not flow because of time and place, but that’s always subject to change and vice versa.

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

There are things that I want to do, but I don’t wanna say preemptively. I’d rather show if I end up being serious about it.

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

I don’t often edit verses, but the longest part of all the album processes are the mix and master. Especially for the self-produced projects.

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

There’s no right answer. Every song and beat combination requires different things. I do prefer to write to a beat 90% of the time, but sometimes you unlock new pockets when you write in silence and puzzle piece it together.

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

No comment. Can’t demystify the whole process.

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

Anything goes based on what the beat demands. I like to be like water; my style is similar to Bruce Lee’s Jeet Kune Do. It’s a mixture of all the fundamentals, but I assume formlessness based on the musical situation. The stronger the foundation, the more flows and schemes you have access to. It’s just a matter of where and when each style is going to present itself.

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

I love all my kids, but always proud of the verse that I haven’t written yet. That will be the best one every time.

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

I wholeheartedly wish I could. I’ll leave that to the people.

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

Yes, I do feel strongly about punch-ins. I will restart a whole verse before I allow myself to punch-in. I can always hear the punch-in, even on other artists' songs. If you have to punch-in a million times, your live show is going to be a disaster. Punch-in artists often perform with their vocals playing over the instrumental. A real lack of breath control. If you’re doing it from an artistic standpoint, call-and-response etc., I understand.

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

I would be here all day. I love a lot of music.

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

I’ve spent less time with self-doubt than most others, but it is a very natural feeling. I believe in what I can do and I’m validated by most of our favorite rappers, so I know I’m dope.

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

ABSOLUTELY NOBODY. We all start off similar in one way or another from childhood influences, but I been in the game a long enough time that my rap DNA is 100% my own.

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

I just want to make the best music and let that speak for itself. I don’t have any concerns in the rap world. I just want to make a living off the music and take care of my own.

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

Photo credit: unknown (hit me up)

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jazwritesalot · 2 years ago

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20 Questions for Fic Writers

Tagged by @wingsonghalo (I'm using my fandom account for this ILY)

1. How many works do you have on Ao3? 69!

2. What’s your total Ao3 word count? 372,792, which is about what I thought

3. What fandoms do you write for? Currently it's BNHA, FMA, and Mob Psycho 100. But I have also written for Soul Eater in the past and may look into revisiting that series.

4. What are your top five fics by kudos? Auras Tell All, Shaken, Not Stirred, Mocha Choco Latte, Of Ink-Dipped Petals and Tattooed Hearts, and Salted Caramel Doubleshot

5. Do you respond to comments? I try my best to! Sometimes I get behind on it though.

6. What is the fic you wrote with the angstiest ending? Ignoring all of my Soul Eater fics, since they're old and I somewhat want to rewrite them, I think the angstiest ending would be To the Moon, my only Hanako-Kun fic.

7. What’s the fic you wrote with the happiest ending? Right now, I think the happiest ending is my Camie/Jirou fic, mother tongue, which was written for the @novapulsezine. But, most of my fics have a happy ending.

8. Do you get hate on fics? Not really. I think I'm pretty lucky.

9. Do you write smut? If so, what kind? You know it ;) And I write a wide spectrum of it, but mostly it's KiriBaku or ShinKami smut when I do write.

10. Do you write crossovers? I've dabbled with it, but never have posted anything.

11. Have you ever had a fic stolen? I don't think so, but I can't quite remember, LOL.

12. Have you ever had a fic translated? None yet, but that would be fun!

13. Have you ever co-written a fic before? I suppose you could say I have. Back in the SE days, I would RP, and we would turn the RPs into fics.

14. What’s your all time favorite ship? I think if we go back to my roots, my favorite would be Yoh Asakura and Anna Kyoyama.

15. What’s a WIP you want to finish but doubt you ever will? Teenage Dirtbag, my FMA HS AU fic. I've had plans for it for years, but never can seem to get the words on paper TT_TT

16. What are your writing strengths? Description of settings and internal dialogue

17. What are your writing weaknesses? Probably action scenes-I feel like they tend to fall flat. But, there's always something I could improve upon in my writing.

18. Thoughts on writing dialogue in another language in fic? I think that it would be okay as long as it's thoroughly checked to make sure what you're saying is accurate. I tend to shy away from it, just because I don't want to offend anyone.

19. First fandom you wrote for? On AO3, it was Soul Eater. In general, it was probably Twilight or Ouran High School Host Club with my friends during classes in middle/high school.

20. Favorite fic you’ve written? It's a tie between Mocha Choco Latte and Shaken, Not Stirred. I love both of these babies and they are my heart and soul.

I tag @hyuge, @lifeform286, @kitkatrix, @kittywritesfic, and whoever else sees this and would like to participate!

#jaz rambles #ask games #writing #fanfiction #going to share this on my main too #thanks for the tag!

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dankxsinatra · 9 months ago

Conversation

Ask me my top threes:

1: Top 3 ice cream flavors

2: Top 3 Disney Movies

3: Top 3 vacation destinations

4: Top 3 places to shop

5: Top 3 subjects of study/classes to take

6: Top 3 make up products

7: Top 3 music artists

8: Top 3 spices/herbs

9: Top 3 drinks

10: Top 3 apps to use

11: Top 3 months of the year

12: Top 3 clothing items

13: Top 3 binge perfect tv shows

14: Top 3 romantic dates

15: Top 3 kinds of flower

16: Top 3 christmas movies

17: Top 3 OTPs

18: Top 3 quotes to describe your life

19: Top 3 characteristics you love about yourself

20: Top 3 kinds of candy

21: Top 3 ways to exercise/ be active

22: Top 3 spirit animals

23: Top 3 petnames

24: Top 3 books read outside of school

25: Top 3 most used websites

26: Top 3 people you last texted

27: Top 3 hashtags you use

28: Top 3 instagram accounts you follow

29: Top 3 guilty pleasures

30: Top 3 summer activities

31: Top 3 things to draw/doodle

32: Top 3 aesthetics

33: Top 3 things you'd buy if you gained three million dollars

34: Top 3 ways to treat yourself

35: Top 3 celebrity crushes

36: Top 3 books from your childhood

37: Top 3 accents to hear

38: Top 3 scents

39: Top 3 "Friends" quotes

40: Top 3 cupcake flavors

41: Top 3 fruits

42: Top 3 places you've had amazing pizza from

43: Top 3 sports teams to watch

44: Top 3 crayola colors

45: Top 3 things you hope to accomplish in college

46: Top 3 fanfictions you've read

47: Top 3 people you miss right now

48: Top 3 fears

49: Top 3 favorite literary devices

50: Top 3 pet peeves

51: Top 3 physical things you find attractive

52: Top 3 bad habits

53: Top 3 pets you've had/wish to have

54: Top 3 types of foreign food

55: Top 3 things you want to say to someone in your lifetime

56: Top 3 dog breeds

57: Top 3 cheesy romance movies

58: Top 3 languages you speak/wish to speak

59: Top 3 series (book, movie, television)

60: Top 3 pizza toppings

61: Top 3 youtubers you're subscribed to

62: Top 3 tattoo / piercing ideas

63: Top 3 awards you want to win

64: Top 3 emojis

65: Top 3 cars you dream of owning

66: Top 3 authors

67: Top 3 historical figures

68: Top 3 baby names

69: Top 3 DIYs

70: Top 3 smoothie combos/flavors

71: Top 3 songs of this month

72: Top 3 questions of this post you want to be asked

73: Top 3 villains

74: Top 3 Cities you want to see

75: Top 3 recipes you want to try

76: Top 3 dream jobs

77: Top 3 lucky items

78: Top 3 traditions you have

79: Top 3 things you miss about being a kid

80: Top 3 harry potter characters

81: Top 3 lies you were told

82: Top 3 pictures in your camera roll right now

83: Top 3 turn ons

84: Top 3 turn offs

85: Top 3 magazines/news papers/ journals to read

86: Top 3 things you wish you had known earlier

87: Top 3 spongebob episodes

88: Top 3 places to be in the world

89: Top 3 things you'd do differently

90: Top 3 TV shows from your childhood

91: Top 3 meals you love

92: Top 3 kinds of tea

93: Top 3 embarrassing moments

94: Top 3 holidays to celebrate

95: Top 3 things to do in the rain

96: Top 3 things to do in the snow

97: Top 3 items you can't leave the house w/o

98: Top 3 movies you'd like to see

99: Top 3 art mediums

100: Top 3 things you don't/Won't miss

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sagarrachnagrp · 9 months ago

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Best CBSE Class 12th Sample Paper Accountancy with 35+ EAD question papers 2024-25

Latest edition of Together with CBSE Sample Paper EAD Class 12 Accountancy 2025 with digital content is a perfect step-by-step study material for students to prepare for Board Exams as per the latest exam pattern. Class 12 CBSE Sample Paper 2024-25 Accountancy has been designed to assist the students to crack board exams with right approach to the newest pattern in Physical & Digital modes.

#CBSE Sample Paper EAD #EAD Class 12 Accountancy 2025 #Best CBSE Class 12th Sample Paper #Class 12 CBSE Sample Paper 2024-25 #CBSE Sample Paper 2024-25 Accountancy #Accountancy with 35+ EAD question papers #CBSE Sample Paper EAD Class 12 Accountancy #Class 12 CBSE Sample Paper 2024-25 Accountancy #CBSE Class 12th Sample Paper Accountancy EAD question paper

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newlysteadytrophy · 3 days ago

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Best Home Tuition Near Me – Expert Learning at Your Doorstep with Saraswati Tutorials

Are you searching for the Best Home Tuition near me to help your child achieve better academic results? Whether your child is struggling with core subjects, needs support with board exam preparation, or simply learns better in a one-on-one setting, Saraswati Tutorials offers the perfect solution — high-quality, personalized home tutoring right in your neighborhood.

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Clement Town

Patel Nagar

Vasant Vihar

Jakhan

Prem Nagar

Subhash Nagar

Nehru Colony

Dalanwala

So wherever you’re located, when you search for the Best Home Tuition near me, Saraswati Tutorials brings expert guidance right to your doorstep.

How It Works

Getting started is simple and efficient:

Tutor Matching: We find the most suitable tutor based on your needs and location.

Free Demo Session: Evaluate the tutor’s teaching style before committing.

Start Regular Classes: Begin personalized, one-on-one sessions at home.

What Parents Say

“We were looking for the Best Home Tuition near me for my daughter in Class 10. Saraswati Tutorials matched us with a brilliant tutor who made even the toughest concepts easy to understand. Her results have improved significantly.” – Meenal Joshi, Balliwala

“My son is in Class 5 and needed help with English and Math. The tutor from Saraswati Tutorials is so patient and encouraging. I’ve seen a huge improvement in his confidence.” – Sanjay Rawat, Rajpur Road

Results That Speak for Themselves

At Saraswati Tutorials, our success is measured by student performance and satisfaction. Our students routinely show:

20–40% improvement in academic scores within 3–6 months

Enhanced conceptual clarity and retention

Better exam readiness and time management skills

Greater participation and confidence in school classrooms

When you search for the Best Home Tuition near me, you’re not just seeking convenience — you’re looking for real results. Saraswati Tutorials delivers both.

Conclusion

A good home tutor can make a lasting impact on your child’s education. With Saraswati Tutorials, you get access to experienced, compassionate, and subject-focused tutors who know how to bring out the best in each student. If you want a flexible, reliable, and affordable way to improve your child’s academic performance, look no further.

Still wondering where to find the Best Home Tuition near me? Saraswati Tutorials is just a phone call away.

#home tutor #home tuition #education #educate yourself

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infodreamvision · 7 days ago

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Strategic Advantage for CUET 2026: Premier Coaching in Hauz Khas with Key Campus

For students in Hauz Khas aiming for admission to India's most sought-after Central, State, and Deemed Universities, the Common University Entrance Test (CUET) stands as the undeniable gateway. This examination is more than just a test of knowledge; it's a comprehensive assessment of aptitude, critical thinking, and preparedness for higher education.

As the academic year progresses, the focus for ambitious Class 12 students in Hauz Khas is now squarely on CUET 2026. With the National Testing Agency (NTA) slated to open applications tentatively in March 2026 and conduct exams in May-June 2026, proactive and strategic preparation is paramount. Key Campus, in its trusted partnership with Deducation Endeavor, offers unparalleled CUET coaching in Hauz Khas, designed to give you the definitive edge and ensure your smooth transition to your dream university.

Navigating CUET 2026: What to Expect

The CUET is evolving, and while exact details for 2026 will be released by the NTA closer to the application window, its fundamental structure remains designed to assess a broad spectrum of skills. Here’s what aspiring students should be ready for:

Hybrid Exam Mode (Likely): While typically a Computer-Based Test (CBT), the NTA has shown flexibility, even including Pen-and-Paper (PBT) modes for high-volume subjects. Key Campus prepares you for both scenarios.

Reduced Subject Choices, Increased Focus: Recent updates indicate a potential reduction in the total number of subjects offered (e.g., around 37 subjects including languages, domain-specific, and the General Test). This allows for a more concentrated preparation.

Uniform Subject Duration: All subjects are now expected to have a uniform duration of 60 minutes, streamlining the exam experience and demanding consistent pace.

Flexibility in Subject Selection: A significant change allows students to choose CUET subjects irrespective of their Class 12 curriculum, provided they meet the specific university's eligibility criteria. This opens up new avenues for interdisciplinary studies.

Core Sections Remain:

Section IA & IB – Languages: Testing reading comprehension, vocabulary, and grammar.

Section II – Domain-Specific Subjects: Based on the Class 12th NCERT syllabus for your chosen subjects (e.g., Physics, History, Accountancy, etc.).

Section III – General Test: Covering General Knowledge, Current Affairs, Numerical Ability, Quantitative Reasoning, and Logical & Analytical Reasoning.

Clear Marking Scheme: +5 marks for each correct answer and -1 for each incorrect answer underscore the importance of accuracy.

At Key Campus, our CUET coaching in Hauz Khas meticulously integrates these potential changes and prepares you for all eventualities, ensuring no surprise catches you off guard.

The Key Campus Advantage: Your Definitive Partner for CUET Success in Hauz Khas

For students in Hauz Khas, choosing the right CUET coaching can make all the difference. Key Campus differentiates itself through a strategic, adaptable, and highly supportive approach:

Proactive Preparation for CUET 2026: We don't wait for the last-minute notifications. Our programs are designed to begin early, allowing students ample time to grasp concepts, practice extensively, and build confidence well before the March 2026 application window and May-June 2026 exams.

Adaptive & Updated Curriculum: The CUET is dynamic. Our subject matter experts continuously monitor NTA announcements and update our study materials and teaching methodologies to reflect the latest syllabus, pattern, and any new guidelines for CUET 2026.

Master Faculty, Personalized Mentorship: Our educators are not just experts in their fields; they are mentors. They provide deep conceptual clarity, strategic insights into NTA's question patterns, and personalized guidance to address individual learning needs, all within the convenient reach of Hauz Khas.

Extensive CBT & PBT Practice: Recognizing the hybrid possibility, our coaching includes robust practice sessions on both computer-based platforms and traditional pen-and-paper formats. This ensures you are equally proficient and comfortable regardless of the exam delivery mode.

Data-Driven Mock Test Analysis: Our comprehensive mock test series precisely simulates the CUET. Each test is followed by in-depth, data-driven analytics that pinpoint your strengths, weaknesses, and time management efficiency, allowing for highly targeted and effective improvement strategies.

Seamless Doubt Resolution: Doubts are learning opportunities. Our dedicated doubt-clearing sessions, available both at our Hauz Khas center and through online channels, ensure that every query is addressed promptly and comprehensively, building a strong conceptual foundation.

Strategic Time Management Expertise: With uniform 60-minute durations per subject, efficient time management is paramount. We equip students with proven strategies to optimize speed, accuracy, and section-wise allocation, maximizing their scores under pressure.

Unbeatable Local Convenience: Located centrally in Hauz Khas, Key Campus minimizes your commuting time and energy, allowing you to dedicate more focused hours to productive study and revision. This convenience is a significant advantage in demanding exam preparation.

Holistic Development for University Readiness: Beyond exam scores, we focus on nurturing essential skills vital for university life and future careers, including critical thinking, analytical reasoning, and comprehensive general awareness, ensuring our Hauz Khas students are well-rounded and prepared for academic success.

The journey to your dream university begins now. With the dynamic and expert CUET coaching in Hauz Khas offered by Key Campus, you're not just preparing for an exam; you're building a strong foundation for your academic and professional future.

Ready to get a head start on CUET 2026 and secure your place at a top university?

Connect with Key Campus today for unparalleled CUET coaching in Hauz Khas:

Phone: +91 99539 92593 or +91 87000 29139

Visit us online: www.deducationendeavor.com

Enroll with Key Campus and empower your path to academic excellence!

#cuetcoaching #cuetexam #cuetpg #cuet #CUETHAUZKHAS #delhi

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