#his groove and fluidity on point

[solarwoniii]

" ˋ꒰ pinky promise ꒱ " - ft. choi seungcheol

[ nsfw post! minors please do not interact. there are many other posts on my and other’s blogs which are much more suitable for your consumption! ]

syn. nothing gets to cheol like a pinky promise

a/n. OMG SECOND FIC IN THE LAST MONTH??? SORLAWONI LOOK AT YOU GO???? gusy i love seugncheol i wanted to write more of this but it was getting too long so i cut out the part where seungcheol jr comes in and i put it in another fic LOL

cw. fingering, orgasm denial, vvv teasing dom!cheol, vvv subby!reader, daddy kink, praise, petnames (princess), ermm i think thats it but lmk if i missed anything!

wc. 0.8k

"b-but you promised i could cum-" you mindlessly rambled into your sleeve, your body twitching with pleasure all over as seungcheol rammed his three thick digits in and out of you rapidly, having you choking on your own breath as you struggled for air, "a-after i took my p-punishment..!"

he only scoffed in response to your choked out reasoning, his ruthless movements clearly showing no sign of stopping, "oh, and remind me what you promised me, princess?"

you felt tears pricking at your eyes, your cheeks heating up from bashfulness as he slowed his movements, now curling his fingers up into your core, edging you for what felt like the millionth time tonight.

with his other hand he grabbed your chin between his two fingers, looking into your eyes, "i asked you a question."

you sniffled through the flooding tears which grooved along your pink waterline, "i-i promised i would s-stop being a brat..." you whimpered softly.

"hmm, that's right." seungcheol responded in his deep, earthy voice, "it doesn't feel nice when someone doesn't keep their promise to you, does it princess?"

you shook your head and bit your bottom lip, "n-no daddy.." you said, voice coming in sharp shards as his thumb came up to rub at your clit, sending shockwaves of bliss through your veins. you blinked hard at some tears as they rolled down your cheeks, "i'm s-sorry..."

"awh, you're sorry?" he pouted mockingly in response to you, but with your fuzzy head now, you really couldn't tell that he was ridiculing you.

you nodded your head quickly, the tears in your eyes webbing into your lashes, "i'll b-be a good girl... p-pinky promise..!" you babbled, your words only slurring together as your fogged up brain seemed to fall into another level of dumbness.

seungcheol only chuckled lowly at this, "pinky promise?" he repeated, clearly amused at just how fucked out he had gotten you, to the point that you were beginning to lose your own mind. "well, there's no arguing with that, is there princess?" he teased at you, his fingers seemed to suddenly speed up in fluidity.

your mouth only fell agape, eyes rolling back and head lulling to the side as your back arched off of the mattress at the feeling. his thick, long digits filling you all the way to the brim, his fingertips rubbing over your hilt in a way so pleasureful, you could see stars in your blurry vision. your hand gripped tightly onto his shirt as you looked up at him, your eyes glistening with tears as the moonlight from the window nearby shone in on your pretty little convulsing figure on the bed.

"d-daddy, c-an i-?" the rest of the sentence caught in your throat as you looked up at him with pleading eyes.

usually, he'd use this opportunity to tease you into a farther away dimension of overstimulations, asking the annoying questions like, 'can you what, princess?' so that he could watch your quiver and writhe until you were sobbing into the satin of your pillowcase, begging for your climax like a helpless little damsel.

but you'd been punished by a fair amount tonight, and he was feeling generous. he kissed your forehead gently and nodded his head, "let go for me, princess."

and let go you did, gushing around his fingers, a choked cry leaving you as your entire body trembled with delectation, your eyes shutting tightly as tears escaped down your temples. your soft, yet sharp whimpers made him smirk as you held tightly onto him, as if he were all you knew.

"that's it princess... good girl," he murmured as he leaned in to kiss you. he pulled out his digits, rubbing them over your sensitive heat in gentle circles to help ride you out as you came down from your high, panting heavily against the feel of his mouth.

once you had soothed, he looked down at you with a warning stare, "this is the last time i'm letting you get away with it, okay? if you misbehave again... you're in trouble."

that was what he had told you last time. and the time before that. and the time before that. every time, he'd bent. his soft spot for you was just too deep for his own good. the both of you knew that his threats meant nothing, but you looked up at him innocently and batted your eyelashes anyway, nodding your head.

he sighed softly and kissed your cheek, "you're gonna be the death of me one day..." he muttered, closing his eyes for a brief moment, before looking back to you, "come on, let's get cleaned up. i'll cook dinner."

taglist. @hunbun07 @metalchick529 @chewryy @haesunflower @iraa567 @jwchn @bunhoons !

[jadeandroses]

Who would be the better dancer? Sonic or Mario?

*vibrates in MULTIPLE special interests at once*

See, if you had asked me before Brothership, I’d have said Sonic in a heartbeat. Mostly because of the overall fluidity of his movements, his breakdancing inspired combat style, and his general showmanship—the guy can dance for a crowd! He can put on a performance!

HOWEVER.

Brothership and Odyssey proved to us that Mario can GROOVE. He’s fantastic at keeping a beat and moving. Put him with a partner? He SHINES.

And that keeps popping up in Brothership:

In the Rio Olympic Games with Peach (skip to 0:32):

And again with Peach in 3D Land (skip to 11:25):

So I’m gonna go with Mario.

However?

I think it’s also worth pointing out that Luigi’s better than both of them.

[essential-music]

Dave Brubeck's "Take Five": A Timeless Jazz Masterpiece That Redefines Musical Brilliance

"Take Five" by The Dave Brubeck Quartet stands as a defiant testament to innovation and artistry. Released in 1959 on the groundbreaking album Time Out, this instrumental jazz classic, composed by alto saxophonist Paul Desmond, is not just a song but a cultural artifact that continues to captivate listeners. Its quality—rooted in its daring composition, masterful performance, and pristine production—demands recognition as one of the finest musical achievements of the 20th century.

"Take Five" is a rebellion against convention. Its 5/4 time signature, a rhythmic structure splitting into a hypnotic 3+2 quarter-note pulse, was a bold departure from the standard 4/4 or 3/4 rhythms dominating jazz and popular music in the late 1950s. Inspired by African and Eurasian folk rhythms encountered during the Quartet’s 1958 global tour, this choice was revolutionary, making the complex feel effortless. The melody, crafted by Desmond, is deceptively simple yet unforgettable, built on the blues scale with a ternary form that balances two contrasting themes. Its two-chord vamp anchors the piece, allowing the rhythm and melody to shine—a minimalist stroke of genius that proves less can be more. This blend of jazz with classical influences, a nod to Brubeck’s studies under Darius Milhaud, elevates "Take Five" into the realm of "third stream" music, merging intellectual depth with visceral groove.

The Quartet’s performance is nothing short of sublime. Desmond’s alto saxophone leads with a soft, lyrical tone, navigating the 5/4 meter with such fluidity that the odd rhythm feels instinctive. His improvisations are restrained yet expressive, embodying the cool jazz ethos. Drummer Joe Morello, often undercelebrated, delivers a masterclass in subtlety and power. His cross-stick and ride cymbal create a pulsating groove, while his iconic solo—melodic, precise, and devoid of flash—redefines what a drum solo can be. Dave Brubeck’s piano provides harmonic and rhythmic support, his block chords and understated solo complementing Desmond’s lead. Bassist Eugene Wright, the unsung hero, locks in with Morello, ensuring the 5/4 pulse never falters. Together, the Quartet achieves a rare synergy, each member amplifying the others without overpowering the collective sound.

The production, recorded at CBS’s 30th Street Studio under producer Teo Macero and engineer Fred Plaut, is a technical marvel. Using Columbia’s 360 Sound technique, the stereo mix captures every nuance, from Desmond’s delicate saxophone to Morello’s dynamic drum bursts. The clarity and dynamic range remain impressive even by today’s standards, though the distinct stereo placement—drums left, piano right, saxophone center—may quirk some modern ears. Still its sonic excellence makes "Take Five" a favorite for audiophiles, a track that reveals new details with every listen.

"Take Five" is more than a technical triumph; it’s a cultural juggernaut. As the best-selling jazz single ever, reaching #25 on the Billboard Hot 100 in 1961 and selling over two million copies by 1967, it bridged jazz and mainstream audiences, a feat few instrumentals achieve. Its influence ripples through progressive rock, with artists like Keith Emerson citing Brubeck’s odd meters, and across genres via covers from reggae to vocal scat. Its presence in films like Mighty Aphrodite, TV shows like The West Wing, and even video games underscores its versatility. Inducted into the Grammy Hall of Fame in 1996, "Take Five" remains a jazz standard, its sheet music studied for its rhythmic ingenuity.

Critics may point to its harmonic simplicity or the initial resistance to its 5/4 meter—some purists, like members of the Modern Jazz Quartet, once deemed odd time signatures unjazzlike. Others might quibble with the stereo mix’s peculiarities. But these critiques pale against the piece’s achievements. The simplicity of the vamp is deliberate, spotlighting rhythmic innovation, and the recording challenges (over 20 takes) only highlight the Quartet’s dedication. African music scholar Willis James defended Brubeck’s experimentation, and history has vindicated it.

"Take Five" remains as fresh as ever, its balance of novelty and familiarity captivating new generations. It’s a reminder that true artistry doesn’t need to shout to be heard. This is not just a song; it’s a masterwork that challenges, delights, and endures. Let’s take five minutes to celebrate its brilliance—then play it again.

Year: 1959

Composer: Paul Desmond

Producer: Teo Macero

[unitedbydevils]

Match Review: Sheffield United 1-2 Manchester United

A scrappy game in the aftermath of the tragic news that Sir Bobby Charlton had passed away aged 86 was not what fans would have wanted, but thankfully the Red Devils could honour the great man's memory with a crucial win.

Bramhall Lane played host to a tale of two halves. In the first, Manchester United were dire; devoid of composure, creativity, and most importantly control. We didn't retain possession or dictate the game. It was so bad that the official United highlights show McTominay's goal - a tidy takedown and finish, in all fairness - as the first of the match highlights. It came in the 28th minute. It's wild that there was nothing of note that United did in 27 minutes of gameplay.

In classic United fashion, no sooner had we taken the lead than we gave it away; a handball from McTominay gave Sheffield a penalty and Oli McBurnie banged home a good finish. Special mention to Andre Onana who got very close to saving it, but Harry Kane would have been proud of McBurnie's set piece. A top drawer penalty.

There were two big disappointments within United's ranks. Bruno Fernandes was more wasteful than is within his remit as the creative attacking midfielder. There's gambling on a chance, and then there's sloppy passing around the midfield that completely collapses our possession play.

The other was Scott McTominay. He's scored 3 in 2 for United, and I believe he is our top league scorer this season - only behind Casemiro for all competitions. He excels in attacking opportunities and is something of a wildcard, but his weakness is possession football - in the same way Harry Maguire struggles with a high defensive line. McTominay isn't a metronome like Amrabat, or a line-breaker like Eriksen. He shies away from the ball. Players like Hannibal and Mainoo will supplant him from the squad in due course, but in the meantime Erik Ten Hag and his coaching team have a challenge on their hands to ensure that they don't risk United's fluidity by rewarding players for fluke moments - such as McTominay's winners. I do like the guy, and I'm happy to have him in as a squad player, but I know he wants more. I just hope he has a good campaign for United, to secure himself a favourable move away next summer.

The second half wasn't glorious football, but it was what the first half should have been - before a team talk at HT sharpens it up.

United were more ambitious. They retained the ball better thanks to fewer weird mistakes, and they were more aggressive going forward. Rashford was unlucky to not score, dragging a great chance wide of the far post. Amrabat hit the crossbar too, denying him a first United goal. The standout was a moment of magic that echoed the likes of Charlton and Beckham, with Diogo Dalot whipping home a top corner curling shot from 25 yards to uproar from the away end.

Truthfully it should have been more too. Martial and Garnacho mistimed a counter attack to flag offside, and Bruno and Martial misunderstood movements and also tripped the offside trap. If these moments can be erased, and a bit of luck guides the Amrabat goal in, suddenly we're looking at a 5-1 slapdown of Sheffield United.

That brings us to the point at hand though: we've not clicked, not yet. These results are very achievable based on the talents available to Ten Hag, but for some reason players haven't quite found their groove. Perhaps it's the injuries, perhaps it was the pre-season workload.

Thankfully players are returning. Harry Maguire has had three good games on the bounce. Garnacho's finding form. Amrabat unsurprisingly looks far better in CM than deputising at LB. With any of our LBs back I think United will be far more reliable, but there are so many 'what ifs'. What if Mainoo's pre-season form flattered to deceive, ala Andreas Pereira? What if Mason Mount doesn't fit in to the system? What if Onana doesn't regain his form?

Until United can build a run of form, every game's a "must win" or a "big test". 2 defeats from 2 in the Champions League group stage means Tuesday vs Copenhagen is though. We must win or we're not even looking at the Europa League, we're just dusted, and that's embarrassing to another level. Fortunately it's a very achievable victory. I just hope Mason Mount starts over McTominay to give us some more vibrancy and spark in our passing and vision.

[thisworldisablackhole]

Obverse. Obverse

🌕🌕🌕🌗🌑

FFO: INTRUMENTAL PROGRESSIVE HARP ROCK! / LISTEN

Do you know the Muffin Man? How about Harp Lady, the internet's busiest harpist and effect pedal aficionado? Emily Hopkins (aka Harp Lady aka emilyharpist aka emilyharpist2) has teamed up for a surprise collaborative EP with Chris Allison, most notably recognized for his work with jazz-fusion outfit Plini, and Dan Briggs, the low-end groove technician of Between the Buried and Me fame. Together, this harp, bass, and drum trio offers up a fresh and ethereal take on instrumental progressive-ambient-harp-jazz... metal? Yeah.

Obverse certainly does not aim to overwhelm with distortion or speed. In fact, I often found myself pining for a bit more growl in Briggs' bass tone, but the rhythms in which Obverse (the entity) create still exhibit a knotty sense of technicality that seems obvious considering two-thirds of the members' progressive metal backgrounds. Fingers are swift and precise; time signatures tend to leave you holding on a second longer than you expect, but it's all so chillllll. Playful really is the key word here. Briggs' and Allison's rhythm work is astute in its virtuosity, no doubt, but they are here first and foremost to set the stage and provoke reactions from Hopkins' electric harp, and they don't make it easy for her. Briggs and Allison collapse entire suns for Hopkins to dance around like a butterfly with wings made of cosmos. She does so with grace and fluidity.

Hopkins' harp is a technicolor joy that takes on many forms throughout these four movements. Of course, such a wide array of frequencies combined with the ability to run specific note ranges through separate effect chains would create such a diverse and shimmering show of lights. This is where Hopkins' extensive pedal collection absolutely comes in clutch. The tones on this EP are just dripping in boutique reverbs, fluttering echos, and sunburst fuzz. Special shout-out to those ASMR popping sounds near the middle of "Obverse II” that sound like the rippled implosions of tiny stars; you'll know when you hear them. Hopkins' harp lays atop the rhythm like a living, breathing organism, exhaling atoms into the breeze, and Briggs, who sounds equally opportunistic in his shapeshifting, must have also shared in the plunder of Hopkins' pedal stash. Allison's drumming speaks for itself, of course; his dance is intricate and plays a vital role in linking the pieces of Obverse together, but sometimes a perfectly timed and warbled string pluck over a cymbal hit does give the impression of mutual metamorphosis.

Obverse does have a large improvisational component to it, but you would hardly know it. These four songs are set up with a series of well-defined crux points to give them each a sense of shape and direction, some of which are just too dang clever and smooth to not be planned. Like the many catch-and-release moments where the trio gets hung up and flung in unison, coalescing into an organic mass of noise and refracted light before a sudden rhythm shift sends them skittering back to their respective corners of the galaxy. Chris Allison, Dan Briggs, and Emily Hopkins have created a wonderful proof of concept here that shows just how well they can play off of each other, and I sincerely hope they don't stop here. There is so much more that could be done with this formula.

[musicalinstrumentsworld]

How to Play Drum Pad for Beginners?

The drum pad has emerged as a popular and accessible instrument for beginners and seasoned musicians alike. It offers a compact and versatile platform to explore rhythms and beats. Whether you have a passion for creating your own music, want to enhance your sense of rhythm, or simply have fun making percussive sounds, learning to play the drum pad is an exciting journey. It provides an opportunity to experiment with different styles of music, from hip-hop and electronic to more traditional genres. In this comprehensive guide, we will explore the essential steps and techniques to get you started on your drum pad playing adventure.

Understanding the Drum Pad Layout

The Pads: A typical drum pad consists of a set of pads that are designed to mimic the sounds of different drums and cymbals. There are usually pads for the snare drum, bass drum, tom-toms, hi-hat, and crash cymbal. Familiarize yourself with the location and function of each pad. For example, the larger pad in the center might be the snare, which is often used for backbeats. The smaller pads on the sides could represent the toms, providing a higher-pitched percussive sound.

The Sensitivity: Many drum pads have adjustable sensitivity settings. This allows you to control how hard you need to hit the pad to produce a sound. Experiment with different sensitivity levels to find what suits your playing style. A lower sensitivity might be better for softer, more controlled playing, while a higher sensitivity can capture even the slightest taps, ideal for intricate rhythms.

Gripping the Drumsticks Correctly

Traditional Grip: The traditional grip involves holding one drumstick between the thumb and index finger, with the other fingers curled around the stick. The thumb and index finger act as a pivot point, allowing for precise control and movement. This grip is commonly used in many styles of drumming and is great for playing complex rhythms and patterns.

Matched Grip: In the matched grip, both drumsticks are held in a similar way, with the thumb and index finger providing the main control. This grip offers a more balanced and symmetrical feel, making it suitable for playing fast and powerful beats. Beginners can practice both grips and see which one feels more natural and allows them to play with greater ease and fluidity.

Basic Rhythms and Patterns

Quarter Notes: Start with learning quarter notes. A quarter note is held for one beat. You can practice playing a steady stream of quarter notes on the snare pad, for example, hitting the pad once per beat. This helps in developing a basic sense of rhythm and timing. Use a metronome to keep a steady tempo, gradually increasing the speed as you become more comfortable.

Eighth Notes: Eighth notes are twice as fast as quarter notes, with two eighth notes fitting into one beat. Practice alternating between two pads, such as the snare and the hi-hat, playing an eighth note on each. This creates a more lively and syncopated rhythm. You can also combine quarter notes and eighth notes to create simple yet engaging patterns.

Hi-Hat Patterns: The hi-hat is often used to provide a continuous rhythmic backdrop. Experiment with different hi-hat patterns, such as playing on every beat (closed hi-hat) or opening and closing the hi-hat in a rhythmic sequence. For example, playing a closed hi-hat on the quarter notes and opening it on the off-beats to add variety and texture to your rhythms.

Incorporating Bass Drum Patterns

The Bass Drum Beat: The bass drum is the foundation of many drum patterns. A common bass drum pattern is playing on the downbeat (the first beat of a measure). You can start with a simple pattern like playing the bass drum on the first beat and the snare on the third beat in a 4/4 time signature. This creates a basic groove that is widely used in many music styles.

Syncopated Bass Drum: As you progress, try incorporating syncopated bass drum patterns. Syncopation means playing off the regular beat, which adds a sense of surprise and energy to the rhythm. For example, playing the bass drum on the “and” of the second beat instead of the downbeat. This can make your drum patterns more interesting and engaging.

Playing with Different Styles

Rock Style: In rock music, the drum patterns are often characterized by powerful and driving beats. The bass drum and snare are emphasized, and the hi-hat is used to maintain a steady rhythm. You can practice playing a typical rock beat, such as playing the bass drum on the first and third beats, the snare on the second and fourth beats, and the hi-hat on all the eighth notes.

Hip-Hop Style: Hip-hop drum patterns rely more on creating a groove and a sense of flow. The hi-hat and snare are used in creative ways, often with syncopation. For instance, you might play a pattern where the hi-hat is open on certain off-beats and the snare is hit in a syncopated rhythm, accompanied by a steady bass drum pattern.

Electronic Style: Electronic music often features complex and fast-paced drum patterns. You can experiment with using different drum pad sounds and creating unique rhythms. For example, layering multiple pads and playing rapid-fire patterns to mimic the energetic beats found in electronic dance music.

Recording and Sharing Your Creations

Recording Setup: To record your drum pad playing, you can use a simple audio interface or a digital recorder. Connect your drum pad to the recording device and set the appropriate levels. Make sure to test the recording quality before starting to play. You can also use software on your computer, such as a digital audio workstation (DAW), to record and edit your drum tracks.

Sharing Your Music: Once you have recorded your drum pad creations, you can share them with others. Upload your tracks to music sharing platforms, social media, or even collaborate with other musicians. Sharing your music not only allows you to get feedback and improve but also gives you a chance to connect with a community of like-minded music enthusiasts.

Conclusion

In conclusion, learning to play the drum pad is a rewarding and enjoyable experience. By understanding the layout, gripping the drumsticks correctly, mastering basic rhythms and patterns, incorporating bass drum patterns, exploring different styles, and learning to record and share your creations, you can develop your skills and creativity on this exciting instrument. With practice and dedication, you can create unique and engaging drum tracks that express your musical personality and add a percussive element to any musical project.

[irankmusicilike]

Pete Rock & InI "Centre Of Attention" (2003)

"Centre of Attention" stands out as one of my all-time favorite hip-hop albums. Pete Rock, who produced the majority of the tracks, truly shines here, making his contribution one of the album’s most compelling features. His production is the driving force behind the album, offering a seamless blend of beats and melodies that perfectly set the stage for the lyrical content.

The raps on this album sit comfortably within the production, avoiding an overly aggressive delivery. This subtle approach to lyricism is something I particularly appreciate, as it allows the beats to remain the focal point while still ensuring that the rhymes complement and enhance the overall sound.

The album's flow is exceptionally cohesive, with each track seamlessly transitioning into the next. Pete Rock’s choice of samples plays a crucial role in this fluidity. By incorporating elements from soul, jazz, and funk, he crafts a raw yet melodious sound that resonates throughout the entire record. The soulful samples provide warmth and depth, while the jazzy influences add a sophisticated, intricate touch. Funky rhythms infuse the beats with a groove that’s both engaging and infectious.

Despite its excellence, "Centre of Attention" remains somewhat overlooked, primarily because it was initially shelved in the early '90s and only saw a proper release in 2003. This later version of the album does not include all the original tracks, which is a shame as it missed out on some very interesting interludes and a few gems. Additionally, the 2003 release included some songs that were not part of the original album, which changes the dynamic of the tracklist.

Nonetheless, the released tracks still showcase Pete Rock’s extraordinary production skills and the album’s unique sound. This combination of genres not only enriches the sound but also underscores the lyrical themes with a rich, textured backdrop. The result is an album that feels both timeless and innovative, maintaining a classic hip-hop vibe while showcasing Pete Rock’s unique production style. Every track contributes to a unified, immersive listening experience, making "Centre of Attention" a standout in the realm of hip-hop.

One of the reasons I never find myself getting bored with "Centre of Attention" is the timeless quality of the beats. Pete Rock’s production excels in crafting beats that remain engaging and fresh, regardless of how many times I listen. The beats have a depth and richness that invite repeated listens without ever feeling repetitive or stale. It's this enduring quality of the beats that truly makes the album stand out and contributes to why it remains so good.

Score 9.4/10

Individual track ratings

*= standout songs

8.5

10*

10*

9

10*

10

10

9

10 *

6.5

9

10

10*

9

9

10*

[dustedmagazine]

Ibelisse Guardia Ferragutti & Frank Rosaly — Mestizx (Nonesuch/Intl Anthem)

Two musicians with Latin roots but primarily Western musical training and experience dig into a multicultural heritage, incorporating indigenous rhythms, instruments and sounds into intricate space-age explorations of history, myth and personal authenticity.

The two musicians in question are Frank Rosaly, a well-regarded free jazz drummer whose exploits have been frequently chronicled here at Dusted. Jazz fans may associate him primarily with a thriving Chicago scene, but he has Puerto Rican heritage and now lives in Amsterdam. His wife Ibelisse Guardia Ferragutti is a singer and multimedia artist, classical trained but born in Bolivia. This is their first collaborative album, a careful excavation of the sounds and musical traditions of their respective Latin cultures, a reclamation, of sorts, of influences that neither artist feels fully able to claim as his or her own.

Authenticity, is, of course, a tricky concept. Ferragutti freely admits that growing up in Bolivia doesn’t necessarily entitle her to ownership of indigenous culture, while Rosaly, in the liners, admits to experiencing Puerto Rican culture largely as an outsider. Mestizx (a non-gendered term for people of mixed heritage) is as much about being estranged from one’s history as it is about participating in it.  

So there is joy but also a sense of longing in these multi-rhythmed, intricatedly constructed cuts. The beats are insistent, celebratory, all-enveloping, and yet you glimpse them as through a window. Elements may come from isolated rainforest tribes—the two enlisted Fredy Velásquez a scholar and performance artist with expertise in Colombian indigenous rites as a collaborator—but they are viewed through the whole of the western tradition: jazz, rock and classical. The gorgeous “Saber do Mar” flickers like a hallucination, threads of drone winding through intricate structures of malleted percussion; it feels both real and imaginary, a place visited in febrile dreams.

These songs are sung mostly in Spanish, with occasional diversions into other dialects. The titles indicate political engagement (“Balada Para La Corporatocracia” translates as “ballad for corporatocracy,” “Destejer” as “to unravel.”) yet the music is anything but didactic. It seethes and undulates with an easy fluidity, Ferragutti’s serene vocals cresting over the synchronized clatter of percussive instruments made of metal, wood and skin. Other artists, mostly from Chicago, drop by to play. Ben LaMar Gay, Bill MacKay, Rob Frye, Mikel Patrick Avery and Avreeayl Ra all make appearances.

All of which coalesces in some genuine sonic pleasures. “Turbulência” barrels down a groove like a freight train, the shush and pop of samba rhythms clattering amid grinding bass and the trebly sparkle of keyboards. “Writing with Knots” pounds a two-toned cadence, shakers and fluttery melody at play, the thread of dissolution always looming. This one, in English, recounts the terrible history of colonialism, but also points towards the future. Like the Meztizx project writ large, It sends tendrils back into the past in order to plot a better way forward.  

Jennifer Kelly

[dojae-huh]

not attaching the link but I saw a twt criticizing ty for outshining the mebers with choreo ....comon.. .it's ty..he was born to do that...sometimes I really dont get the fans...

anyway I want to ask about mark..did he ever outshined the members with the choreo?? I mean as an artist I respect and admire him...he works hard..his rap is powerful and also he dance well too...but I never get the feelings that he have an impactful aura in dancing..for me jae has it sometimes , when mark is better than him..u knw what I mean is right...even if he dances he cant take full control over the stage..ty can just stand there and make the whole stage his....even dy who is far from all mebers of 127 in dancing gives me the vibe of a charismatic personality when he performs on stage...ofcrs I knw mark is way better than anyone I mentioned..I am not trying to demeaning him with his skills..but u knw like sometimes his face overpower whatever hairstyle nd colour he is having...with his face I cant notice his hairstyles nd colour..that much power his face can hold..but why there is no an overall impression or the power of stage controll..if he is ur bias or bias of any readers here please dont be offended I am just sharing my thoughts....thankyou...

I think this is a question for those who learn dance.

Personally, I can't name such a case. (Maybe in Dream?) He is very withdrawn in himself when he dances, head low, he is not projecting to the audience. He is more noticeable and commanding as a rapper, he is good with power stances (like in Resonance).

Many people who do dance rankings place him above Taeyong. As I understand, he has clean lines, his movements are sharp, the footwork, and other technical things. But then again, it seems to me (street, hip-hop and other modern genres) dancers respect the control of the body, groove, tricks, difficulty, musicality, creativeness (and Mark can freestyle some). Meanwhile the commonfolk like us are more attracted to stage presence, personal flavour, small details with hands Taeyong does or fluidity of the body, foxy smiles, sexyness Ten shows. Or Doyoung's facial expressions as of late, pointed hand gestures during his solo parts.

Personally, I'm not into dancing as an artform or a kind of sport (something cool to show off). Maybe it's because I'm a zoologist with love for animals, but I'm most captivated with the power in the movement, agility, hand gestures. For that reason I like Chinese traditional dance. And for the same reason I enjoy Jaehyun. Like he shines in the front of the final Resonance line-up. All power and vigor. I will prefer k-pop dances like this one to the type WayV sometime does (with all the unnessesary "story telling" movements).

Mark is very boyish, same as his face, he doesn't really change. In any concept his true self shines through. And a boy is not a king. He lacks gravitas. Remember how many times it took him to do that scene with red revolvers for the Sticker MV? Heh. Mark can do evil, for example (his Super M promos, eh, I miss the group...), but that off stage, before the camera, as an actor.

I guess with dancing it is his eagerness? diligence? I don't know wich word to choose to describe... anyway, "he is doing his best, 100% energy" that what I get from the way Mark dances and performs. There is little room for artisticity. He moves from one move to another without a pause. Taeyong, on the other hand, sprinkles everything with some creations, ideas. A smirk here, a twirl there, a play with fingers or a fleeting facial expression. That's why he draws attention.

As shy as Tae is, on the stage he turns into another being. Mark stays himself.

[kalicocal]

B.I, ‘Keep me up’, 2022

[stardusted-bookworm]

hello! to help get you out of your writers' block (which i understand very well, having been there many times), could i request a little widomauk something- maybe stuck in a dungeon struggling with a hard puzzle, one of them works it out and the other accidentally confesses? maybe a little 'i could kiss you rn' moment? maybe? i know this is specific but i'm having brainrot

A/N: OP you are very valid in your brain rot 😌😌. I hope you like it!!

"Scheisse!" the magic man screamed as he slammed his hands into the stone wall.

Molly cocked an eyebrow even as his tail whipped in shared agitation. They'd gotten separated from the Nein over an hour ago when Jester accidentally stepped on a trapped tile. After fussing for a very long time, Molly and Caleb found out that it could only be opened from their side. The tiefling had left it to the much smarter human but it appeared the stupid puzzle was too confusing even for him.

Nott's voice drifted faintly through the stone. "You can do it, Caleb! I believe in you!"

Caleb gently slammed his head into the wall.

"Tsk, tsk. Don't harm your pretty head like that, magic man." Molly walked over and tugged Caleb away from the wall. "Maybe take a break. There's no point trying to force something that won't fit, unless you're into that kind of thing."

Molly grinned as the other groaned. He was well aware how crude he sounded but at least it distracted the wizard away from the wall for a moment. Caleb sat down on the ground a few feet away and slugged back a health potion. Molly watched as the many cuts began to seal up. Once he was sure the wizard wasn't a breath away from death, he approached the door himself. Who knew? Maybe he'd see something Caleb didn't.

Looking at the wall point blank wasn't providing any answers. So Molly did the one thing he does best, look at it from a different angle.

With all the fluidity of months of practice, Mollymauk Tealeaf lifted himself into a handstand. It turned out to be the best decision he'd ever made. There at the corners were little veins of different colors. Veins that seemed to shift and flow like water. They seemed to—

"Mister Mollymauk, what are you doing?"

"Hush, Mister Caleb. I think I've got something."

"What?!"

"I said hush."

—connect together but each vein was being blocked off by a stone circle… Oh!

Molly stood upright, dug his fingers into the now visible grooves of the stone circles, and turned them. He turned the circles until each vein of color matched with its corresponding vein.

As he spun the last circle so that all the colors finally matched up, the veins flashed a bright gold and the stone wall rumbled as it slowly lifted.

Molly looked over his shoulder flashing an arrogant grin. He was met with an extremely shell-shocked face. "Well, Mister Caleb. Perhaps I'm just as magic as you." He winked at the wizard.

Caleb looked from the door to Molly. "I could kiss you right now," he breathed.

Molly grinned wider. His tail snaked around Caleb's waist and pulled him into the tiefling. "Don't let me stop you, magic man."

The human was the color of a tomato and his eyes flicked from Molly's red ones to his mouth. Repeatedly. The bloodhunter was patient though. After all, he had all the time in the world. Why rush things?

"Ohmigod ohmigod ohmigod! Caleb! Molly!"

The wall was about halfway up when Jester called out to them. Searching Caleb's face, he decided to spare his dignity and pulled away. Caleb leaned closer for a brief moment, as if he was chasing Molly's warmth.

Molly chuckled and placed a brief kiss on Caleb's forehead. "Maybe next time then, magic man."

He slapped Caleb on the ass with his tail and ducked under the wall to meet the rest of the group.

There would be more than enough time to seduce the wizard. More than enough time to court the wizard. And Molly would enjoy every second of it.

[whysojiminimnida]

Kim Taehyung Is Cooler Than Me

Okay okay okay yes I used a video where you can't actually see anything for a bit. It's harder than you think to find Taehyung focus dance cams okay, at least the ones I like. So cool out until about :22 when our birthday boy gets going and then sit back and enjoy the nicely nasty groove of one Kim Taehyung, Lead Dancer. I rank him fourth in BTS - and that means he's head and shoulders above most dancers in the pop industry. Man can move. I really like Tae's style in Dynamite. I like it in Black Swan. I like it in ON and Mic Drop. But it took me awhile to pay attention to Taehyung as a dancer. It wasn't until after Singularity dropped and he was promoted into the dance line proper that I really started clocking him in performances and rehearsals. Great things about Tae's dancing: his shoulders, his hips, his knees, his smirk. Taehyung has a nicely flexible spine that I know he's worked on because I've seen the progression over time with it. There's a natural grace and easy fluidity to his motion, but he also has developed a nice sharp pop to the ends of his steps and movements that really adds to his work. But Tae's secret weapon is his box line: his shoulders and their relation to his hips. Part of this is his body proportions which: ugh. Gorgeous, amirite. The man is beautifully put together. But he works his shoulders and hips as a unit and that is a technically proficient way to move. His shoulder autonomy and articulation is one of the highlights of his dancing and it shows up nicely in the video above.

Go ahead and just watch that man gesture all over the place without needing to extend to his fingertips. I mean he CAN extend and finish the moves, and he does when he wants to, and it looks awesome, but the thing is, with those shoulders? He can get it done with the barest gesture of his wrists. As a result of his shoulder articulation and lower back flexibility, he can move his hips and down into his knees and he looks great when he does. His height helps him here because it looks like he's actually getting down farther than he is, vs. Jimin who has to bend a lot more to get the same look. Tae is long-limbed and it really works for him in terms of the appearance of the groove. Y'all I hesitate to even say this because I just got a crapton of anon hate for my Jimin pulls up in his torso post. But Taehyung doesn't always bother to finish his moves. He's a lot better about it than he used to be, especially in performance. In fact sometimes his lines are fluid enough that he looks every bit as good as, say, Jungkook.

But Taehyung doesn't come with same tech specs as a Hobi or a Jimin - not even close - and that's okay. He is pretty. God only made the one Park Jimin and Tae doesn't need to fit that mold. He dances like a man who enjoys dancing but who is not betting his life savings on whether he can do four pirouettes in a row or jump above shoulder height- that is not his jam and it doesn't need to be. He can make you beg just as easily from the middle of the pack, thanks, and without all that effort. I ain't mad at a man who's too cool for school as long as he can show out when he needs to.

I was gonna get all into Tae's abs but let's be honest, he doesn't get into his abs so there's no point in me going there. We are not gonna sit here and calculate how into or above the floor he works, or count his rhythms to see where his ass is on a downbeat. With Taehyung, we don't need to do all that. We can just sit back, relax and enjoy the visuals because he bring 'em to you every time.

[stayarmytinyzenmoa-l]

How would you describe the ANiMA members dancing style? I’d imagine they all would have to be better than the average dancer to be able to keep up with NCT’s difficult choreography. And if you had to compare their style to an idol who would it be like Haechan is very fluid with his dance moves and San is very sharp. We only know that Yeseul is the main but who is the lead dancer in ANiMA?

Ooooo good question!

If I had to rank them, from best to slightly less best (as they're all talented) it'd be as follows: Yeseul, Saeron, (Y/N), Jihyun

Anyway, let's break it down.

Yeseul happens to specialize in street dance, or at least she's very good at grooving and making choreo on the spot. She's self taught, her skills come from early interest. You could say that she's sharp like San, she understands her angles and isolates parts of her body well when doing choreo. In a group like NCT, she's widely praised, her dance style fits the electro/techno genres of the group. However, in some ways this could also be her flaw, although she is very good with sharp choreo that features things like isolations or emphasizes angles and power, she struggles with graceful fluidity, don't get me wrong, she can do it, but it doesn't come as naturally to her as more free kinds of movement. If I were to compare her to an idol, though, it would be Itzy's Ryujin.

Saeron is next. Actually, I'd say they're equal, but the thing is Saeron does understand fluidity. I've been meaning to mention that she's trained in contemporary dance, mainly ballet. It was one of the electives she took in SOPA (School of Performing Arts), and ironically it's what she excelled in during trainee days despite her current position of main vocalist. The thing is, though, the grace in her movements isn't optimal for a group like NCT, thus keeping her out of dance line. In this view, you could say she moves like Haechan. She's more smooth with her movements, and it's obvious when you put her into powerful choreo. It's not jarring, however, but the style difference is there. If I were to compare her to an idol, I'd say her dance style is like GFriend/VIVIZ's Eunha.

(Y/N) falls third. It's not that she's not as talented as the other two, it's just maybe a step below Yeseul specifically. Obviously I can't say much about a self-insert character, but how I have it in my notes is that (Y/N)'s dance abilities are what kept her in SM's training programs. We're moving under the assumption that she speaks Korean as a second language, making vocal and rap trainings somewhat difficult, so if there was one thing she was going to try her hardest at, it would be dance. I suppose her dancing style, or at least how I see it, would be similar to (G)I-DLE’s Minnie

Jihyun, although last, still has a considerable amount of skill herself. Her thing though is posture, despite our resident gamer girl living her life in front of a computer for maybe 2/3 of her life, her posture is insanely straight. It carries over into her choreo though. It’s not too noticeable to the untrained eye, but it’s still there. She’s not stiff, don’t get me wrong, but the straight angles in her moves can be pointed out by an expert. If I were to compare her to an idol, it would be Kep1er’s Xiaoting.

[danetobelieve]

Merder, She Wrote || Sera and Winston

After everything that had happened, after the endless night and the vampire attack that had put Ricky in hospital and was going to leave Winston with a very nasty scar on their shoulder. Todd had been bragging to them about this awesome warehouse rave near Finney Docks, they said that the building was literally on the waterfront and that it was going to be the event of the century. Winston wasn’t usually the druggy type, they weren’t really the drinky type either. But tonight, tonight they needed to let loose and forget some of the shit that had happened recently. As they stood waiting for Sera, they watched the frost of their breath expand in front of them. Spotting a figure in the distance, they assumed it must be her and started over towards her. “Sera?” they asked, curious if they were wrong. 

Part of Sera hadn’t expected Winston to actually come up with any party plans that would interest her. But a warehouse rave? Oh, she’d be an idiot to say no to that one. Even a bad rave was a good time. For her, anyway. People got stupid at these things. Vulnerable. So if at any point she was ready to go, she could always muscle a loopy human from the crowd and salvage the night that way. And with the party by the docks? Sera made a point to be on time for this one, practically skipping as she found the two young things standing around. “The one and only,” she grinned widely, pointing their way. “You must be Winston?” She nodded, though her eyebrow lifted slightly when she looked over at his friend. “And you must be the famous Todd your pal here keeps boasting about.” She could practically feel the thumping bass from where they stood. “You foxy friends sure you can keep up in there?” She teased, nodding towards the warehouse. “Last chance to back out.”

Winston pulled off their glasses almost habitually and scrubbed their lenses clean. “Yeah, that’s me.” They smiled, shocked at the fact this was really happening. This really was outside of their comfort zone, but then again they had done plenty of other things in the last few months that were outside of their normal experience. Maybe this was no different. Hopefully nothing went wrong. It’d be nice to have a night free of anything too lethal. Todd nodded and made their introductions before smiling gently. “No, I’m definitely going, there’s no backing out now.” They didn’t give themselves a chance to leave and headed towards the warehouse entrance where there were two very large bouncers that Winston decided they weren’t going to piss off. Flashing them their ticket, they waited patiently for the bouncers to pat them down before slipping inside the club. Turning to Todd and Sera, they tried to make themselves heard over the boom of the music, “I’m going to find the bar.” 

There was just something in the way that Winston carried themself—the nervous-like cleaning of their glasses, for example—that told Sera this was, in fact, their first rodeo. That was fine. She had no trouble showing these two kids how it was done. Winston especially looked a hair more unsure of themselves, despite their strong words. “Let’s shake our groove thangs then, shall we?” She took a good long sip of the flask hidden in her boot before they went in. Dark, loud, sweaty. Everything a good rager should be. She was nodding along, one hand already in the air as she followed behind Winston. “First round’s on me!” She shouted, ordering up whatever bright neon drinks they were serving. Didn’t ask, didn’t matter. She just paid and received. That’s how this worked. She handed two each off to the other two in her group. One in each hand, she shouted loud again, a bright grin on her face. “To new friends! And this killer party!”

At the bar, Winston had already order themselves a drink before Sera came and ordered everyone a frankly disproportionate amount of alcohol. But considering that Winston had just finished the majority of what had been a very strong but also very small drink, they weren’t complaining. “Fuck yes!” they exclaimed slightly unsure of what they were actually meant to say here but there was something about the music, about the thrum of the bass, about the movement of the crowd, about the beat, about the tightness and how closely they were all packed into a single hot and humid space, it was invigorating and by the time that Winston had finished one drink, their second and third neon drink had been swallowed as well. Winston was purchasing themselves new drinks and pushing them into Sera’s hand as they danced. This was amazing. They’d never felt so free. They’d been clubbing, but this was something else entirely. The setting, the music, the people. The carefreeness of it all was more then enough to hook Winston in. “This isn’t really my thing,” they admitted but after everything that had happened they were really starting to re-examine what was acutally their thing, “but this is really fucking awesome.”

It hadn’t taken nearly as long as Sera had thought they would to ease into the flow of the evening, but it happened. This was one of her favorite kinds of evenings. Just completely losing herself into the music, the booze, the feeling. Hopping around with a bunch of sweaty humans wasn’t the best part but it was the fluidity, the life. And sure, maybe it was a little bit of whatever that babe in the bathroom had given her, but the colors were far fuckin’ out too. She couldn’t help but laugh out at Winston’s confession. So innocent, so sweet. “Hell yeah!” She laughed, jumping in time with the music. When did she put those neon rings around her wrists? There were so many too. She laughed, taking a quick look at the time. Shit. Party was almost over. How long had they been dancing? She found Todd and tugged him closer to where she and Winston were dancing. “Alright, alright. Show’s almost over. But--” that devilish grin returned as she yelled over the music once more. “One more shot for the road? Yeah?”

It had certainly been an evening, Winston was drenched in sweat and they weren’t entirely sure that it was all their own. But the boom and thud of the music and the twang of the bassline were more then enough to keep them from caring. They’d lost Todd and Sera several times throughout the evening and Todd had even convinced them to try something new. They weren’t normally like this but with everything that had happened they had found themselves barely hesitating. As the night clearly wound towards its end however, Winston was gathered alongside their friend for a final drink. Wiping sweat from their forehead, they grasped the neon drink and nodded. “One more shot for the road,” they affirmed already planning their next trip in their head, “but we’re definitely going to have to come back soon.” If they were going to have to deal with vampires, zombies and werewolves, not to mention everything else that was probably worse that they didn’t yet know about. Then they would also have to find new ways to enjoy their down time. Right? 

Sera couldn’t stop grinning at Winston. The world was bright and colorful and spinning but despite her initial reservations, she did have a good ass time. “That’s the spirit, dude!” She wrapped an arm around Winston’s shoulder, facing towards Todd and the circle the three of them made. Held up her drink and downed it quickly, then tossed the shot glass behind her. It shattered loudly behind the bar and instantly there was a bouncer coming at them. “Maybe just not here specifically,” she laughed, shoving Winston and Todd along as she bolted for the door and out into the cool night air. She stopped running when they were far away enough, so close they could almost touch the docks. Fuck. She was starving, she suddenly realized, casting a long, flirty smirk at Todd. She plopped into the soft earth, dizzy and out of breath. “What a night,” she grinned, pointing to Winston. “You’re much cooler than you look, my new funky friends.”

In their life, Winston was certain that they had never thrown anything glass. But here they were doing it. Following Sera’s example (something that they would have never considered if they were sober) they chucked the shot glass over their shoulder, grinned and bolted away from the bouncer. Normally they would’ve been wrapped up in panic about CCTV catching them and whether this could get them in trouble with the internship, but they weren’t thinking about that now and as they bolted from the rave, Winston gazed into the still night. They weren’t sure what time it was and they weren’t sure exactly where they were, but as they followed suit and collapsed onto the ground and Winston took a few breaths as the world spun around them, they were enjoying themselves. They missed the smirk between Todd and Sera, leaning back their head settling into the dirt. “Fuck meeeee,” they groaned with ectasy, “this was really something, you really weren’t kidding when you said that you knew how to have a good time.”

Another laugh burst from the blonde and Sera turned to watch Winston struggle in the dirt beside her. “Oh, I don’t kid about a good time,” she smirked, resting her head in her hand. “You’re not gonna get sick on me now, are you? Because that’s gonna kill the vibe, bruh.” Still a little dizzy, still a lot drunk, but after a few failed attempts she giggled her way to a standing position one more time. “Are we done partying for the night? Or—I know a gal who could probably get us into some of the after hours bars in town.” She held out her hand to help Winston up, raising a brow. “What do you say, kid? Wanna keep this party train rollin’?”

Glancing at their watch, Winston frowned as they realised what the time was. They were starting to feel more and more drunk, or were they just tired. They didn’t know but they knew that they didn’t want to find out, because they definitely didn’t want to make a mess. “I don’t think I’m going to be sick, but if I keep going then I definitely will be.” Winston had lied to Nic about having an iron stomach and then been very sick, this situation was completely different but they weren’t about to make the same mistake. “I admit that I’ve lost this challenge, you win, you’re more experienced and hardcore.” They grinned at her and glanced at Todd who seemed to be in a bit of a better state. “I think Todd is ready to keep going,” they tottered to their feet and pointed finger guns at their friend who returned the gesture and made some vague promise about how they were going to keep partying till the early hours of the morning. Sometimes being sensible was difficult.

The band was breaking up and Sera could sense an opening here. With her biggest, proudest grin of the night, she gave Winston a curt bow. “Thank you, thank you. Love hearing you finally admit I’m better than you,” she teased gleefully. Fuck, there went her stomach again. She’d eaten plenty but this always happened when she went as hard as she did tonight. “Further proof, right there.” She rolled her eyes at their fingergunning bromance moment. Slipped her arm through Todd’s as they started moving towards the road. Other party goers were trickling out of the warehouse, neon painted body parts speckled across the street back into town. “So you’re out, Winnie? You’re suuuure?” She waggled her eyebrows. 

Winston really did consider keeping the party going. There was potential for so much fun yet to be had, but their eyes were getting heavy, their limbs felt tired and it looked like Todd and Sera were about to become much better acquainted then Winston would’ve known was possible. “I am not so full of hubris that I cannot admit when I have been bested by a worthy opponent,” Winston chuckled before shaking their head, “I’m sure, I’m sure, I’m getting an uber home and I am going to try and sleep until my head stops spinning so violently.” Giving a vague wave, Winston turned and began to join the stream of people exiting the warehouses. 

Sera feigned a pout as Winston disappeared into the stream of tired drunks on their wayward journey home. Soon enough she’d be one of them, sure, but the night was fae from over for her. For Todd? She cast a glance his way. He seemed like a cute, personable guy. And sure, they’d had a good ass time tonight. But the boy was human. And that’s where her loyalties instantly severed. Her stomach growled. Taking his hand, she started backtracking towards the dark waters below the docks, making sure to stay out of sight of the others around them. “On second thought,” she tilted her head, tugging him along. “What do you say we go for a swim?”

[writingrei]

inuyasha and kagome do stuff: arcade

shoes

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

"The hell is this place?" Inuyasha asked, holding onto Kagome’s shoulders as they navigated through the dark but neon lit room.

"It's an arcade."

"Arrhh- cayde?"

"Oh come on… I know you're 500 years out of touch, but that doesn't mean you suddenly don't know how to speak."

"Look! I don't know what this is supposed to be. You can't get mad at me asking questions."

"I am not mad!" Kagome chirped, yanking on Inuyasha and picking up her pace.

Inuyasha wretched. "Good god , what is that STENCH?"

"Stench? I don't really smell anything."

"It smells like sweat that's been embroidered into something."

Kagome cringed. She got the jist of it. Unfortunately, where they were headed was the source of the stench. Squeezing through groups of people huddled around games, they entered in a clear area of the room, lit brightly by one loud and bright game. In big English letters it said, "Dance Dance Revolution".

Inuyasha pinched his nose, observing the brightly lit words. "I can't read that."

Kagome groaned and facepalmed, reading it to him. He just squinted at her in confusion.

She shook her head, sighing. "It's a dancing game."

"Okay."

Kagome took Inuyasha's hands, stepping onto the platforms decorated in arrows. Inuyasha tensed up, lifting up one of his feet. "It's COLD! What is this stuff?"

"It's… its metal? It's-- don't worry about it."

She turned to the huge monitor, rustling in her pockets and pulling out a 100 yen coin. She put it into the slot, Inuyasha watching intently.

"Now Inuyasha, don't freak out. I'll have the game give you a tutorial."

Kagome stepped on the arrows, the screen responding accordingly. She stomped on the arrow in the middle for select on "TUTORIAL", the screen fading to black. As she stepped off the platform, she pulled Inuyasha to replace her. She slid behind the bars adjacent to platform, leaning on it to watch Inuyasha. He was mesmerized by the screen, his ears standing up when the light returned.

Kagome pointed, "When the arrows hit the top of the screen, step on the one on the platform!"

Inuyasha looked down, seeing the four arrows by his feet. Front, right, left, back. Okay.

A right arrow scrolled from the bottom of the screen to the top, landing on the adjacent one on the top. He slammed his foot down into the arrow on the platform, the sound bouncing off the walls. Everyone in the arcade looked at him in fear. A big “MISS” floated in the corner of the screen.

“WHAT! How’d I miss it? I stepped on it.”

“Not so hard,” Kagome whispered.

"Huh?"

“Don't step on the arrows so hard. Also, you’ve got to anticipate it. Step on the arrow as it’s coming to ensure that you don’t miss it!”

Inuyasha huffed, watching more arrows scroll up and stepping on the tiles in accordance. Kagome cheered in support, watching the “EXCELLENT” fly up on the screen. The half-demon started to get into it, bouncing up and down with the music that emitted from the machine. Right, left, right! Up! Up! Down! Left AND Right! He faltered a bit there, trying to figure out how to get both at the same time. He hopped and stomped on both, the same loud sound from before ringing out.

Kagome cringed at it again, feeling spectator’s eyes boring into them. Inuyasha remained fixated, keeping his eyes on the screen and his feet in the right place as the quick session ended.

“That’s it? That sucks.”

“No, silly. That’s only the tutorial! Now you can actually play,” she said, ducking underneath the top bar and squeezing her torso through it. She shooed him aside, deciding to use her hands to naviagate the arrows instead of her feet. “You want an easy song, Inuyasha?”

“EASY? What’d’ya take me for? Give me the hardest this game has got. I want a challenge.”

Kagome sighed, “I don’t think you’re ready for that, Inuyasha.”

“Oh come on, just do it.”

She wanted to go easy on him, but after all, he did ask for a challenge. After struggling a bit to find a decent match for Inuyasha’s ego, she landed on “PARANOiA ~HADES~”. Setting the game to start, she stood up again, facing away from the machine.

“C’mon Kagome, you’re not gonna watch?”

“I don’t need to watch to see how this is gonna turn out…”

Inuyasha scoffed, bordering on a hiss as he turned to the machine again. The music started, and he began to play. The onslaught of colorful arrows confused him, throwing him off of his rhythm. Kagome just yawned, hearing his sounds of distress from playing as she tried to peek at what other people were playing from afar. She continued to ignore him even after he threw out a few “Damn it, Kagome!”’s.

He heaved after the song ended, visibly steamed from his horrible result.

Kagome looked at his results. Mainly misses, a few goods, no excellents, and his highest combo streak stopped at 15. Inuyasha covered his head, his long sleeves obscuring his obviously embarrassed expression.

“Don’t speak to me,” Inuyasha growled from underneath.

Kagome nudged him. “I’ll do a round with you. If you want.”

He peeked at her.

“If you’re thinking I’m bad, then you’re definitely wrong,” she said, a smug look on her face as she stepped onto the platform next to him. “Actually, move over. I like this side better,” she said, moving Inuyasha to the right of her.

“Hey!”

She just smiled at him, leaning over to put two coins in both slots to start the multiplayer version. Kagome stepped quickly on the arrows, speeding over to a song titled “LOVE♥SHINE”. The preview of the music played before she selected, and Inuyasha folded his ears down onto his head.

“It sounds awful.”

Kagome glared at him. “Don’t be mean. I think that you could actually do this one.”

Inuyasha glared back, and they both just had a glaring contest as Kagome started the song. The arrows scrolled up the screen, Inuyasha a bit anxious this time.

“Juuuuust follow my lead~” Kagome cooed, getting a hiss in response.

She jumped on every step, swaying her hips from side to side as she got one “EXCELLENT” after another. The music was right up her alley, making it easier for her to get into the groove. Inuyasha watched her while trying to focus on his side of the screen, missing a few arrows as a result.

“Inuyasha! Look at your side of the screen! And just get into it!” Kagome said before zoning into the game again.

Inuyasha huffed, trying to step on the arrows with more efficiency. He couldn’t help but get distracted by Kagome’s enthusiasm towards the game-- especially seeing how light on her feet she was. She could afford to make big hops in between steps, she ensured that she wouldn’t miss a beat by staying on her toes.

He shook his head, trying to get focused so he wouldn’t get upstaged by Kagome. He was a bit stiff as he played, slowly loosening up as he continued. Despite this, he couldn’t get anywhere close to Kagome’s fluidity. She even had to hold down her skirt while she was jumping around.

The song died down and they took their last steps, Inuyasha a bit frazzled and Kagome extremely excited. A bit out of breath, she fanned herself as she looked at the steamed Inuyasha. His results were nowhere as good as hers and it almost made him want to run up a wall.

Kagome held out another pair of coins. “Wanna play again?”

[lesbianfeminists]

We, lesbians, will get to say who we are and who we are not. Politically, sexually, emotionally, within our communities. We will have space to discuss owning ourselves. I’ve been wanting to do this issue for a year or two, in part to explore how we understand “lesbianism” in the present, in part to respond to attacks on lesbian identity. I believe the ideas that lesbians can sleep with men, that faggots can call themselves dykes and dykes can avail themselves of male privileges by calling themselves faggots, that men can be women and women who pass do it because they’re simply “playing with gender” — are meant to divide and destroy us, to drive us literally out of our own minds. But I feel already driven out. Or more like I’m driving a car with no brakes down a side road in the mountains and it keeps picking up speed. I don’t know how to contain myself and make a nice, neat, clear argument. I have to finish ten books first, reread everything that came out in the last twenty years, find out exactly what deconstruction and essentialism mean. How am I going to do that, edit the magazine, go to work and have a life? But I’ve got to try. I understand lesbians’ claim to own ourselves (well, it’s a stance more than a reality) as heroic. Our minds, our bodies, our labor, our sex, our heritages are constant staging grounds for war. Vastly out-powered on every front, we manage to survive and, for moments, thrive. Owning ourselves is, after all, no small feat. That lesbians are different from “women” means something. Consider, for a minute, women’s bodies: women have been owned for centuries. This isn’t just some old-fashioned out-of-date political conceit — it’s why the abortion rights fight is so ugly, why fundamentalism is surging across the globe. The appropriation of female labor — including reproductive labor — is the cornerstone of social organization in the world we know. The resurgence of “family values” is the brother-movement to the ethnic “cleansing” movements we’re seeing worldwide. These movements are a strategic reestablishment of hierarchical male power that positions individual men to rule and fight for rulership and resources. But in order for men to do this, women have to be kept in line. Men create ideas about what woman are in order to control them. These ideas vary from culture to culture, but their use is the same: to isolate females, to control their reproductive functions, to use their physical labor to support and enrich males, to keep females out of public spheres as much as possible — certainly out of positions of power.  ... Other lesbians of course have written papers and books on the way these things work — I think of Marilyn Frye and Monique Wittig in particular. But the point is: a lesbian is in opposition to a “woman” by her very being. Of course we have to work on men’s terms to make a living, but even so we mostly rent our bodies out. A lesbian body is, theoretically, a body that no man owns. Which may be why so many folks are out to “bend” the definition of a lesbian out of recognition. If the word lesbian loses its power and meaning, but the distribution of wealth, resources and opportunity remains overall the same, who benefits? In the midst of the San Francisco Bay Times’ current “gender debates,” Caryatis Cardea wrote: “If a woman who sleeps with both females and males is a lesbian; and, if a man who submits to surgical procedure to bring his body in line with his acceptance of sex role stereotypes, is a lesbian; and if a straight woman whose spiritual bond is with other females is a lesbian, then what is a female-born-female who loves only other females? Soon there will be no logical answer to that question.” Every gay paper is filled with these “gender debates.” It’s the ’90s — you are me and she is he and we are all together (okay, so the Beatles did it 20 years ago, that only means they were ahead of their time, not that we’re just following an old groove, right?). Transsexual men and their friends call lesbians hate-mongers, fascists and “essentialists” for not opening every lesbian and women’s organization to them. It’s in vogue for everyone to be a bi-sexual (the “natural” human state, which, oddly enough, makes lesbianism “unnatural” all over again). ... Many of us, who perceive men as destroying the world, are reluctant to give up the old dichotomies: men war, women nurture. We can argue forever (and seem to be) about whether it’s being born with a womb or being socially constructed that makes us “women” without being able to come to a final answer. But the more we understand attributes (self-reliance, adventurousness, curiosity, domesticity) as options instead of innate qualities, the more choices we have as individuals. Lesbians tend to choose from the full range of available attributes (and occasionally invent some of our own). That doesn’t mean we don’t know where we live — all of us must choose, at some point, whether or not to cast our lots with the “women.” Individual choice alone does nothing to change power structures. Men can (and do) call themselves sensitive and understanding in order to maintain their power in new social climates (Chevron cares). Queer Nation has picked up the idea that women and men are “created” and given it a popular spin: get behind the fluidity of identity, don’t be a rigid role-monger, don’t cling to your label like a reactionary to a life-boat, be flexible. It’s an attractive idea. So attractive that you’d think somebody would have thought of it before the late ’80s…. As many womyn, particularly womyn of color, have noted, the more you have power, the more you don’t use “labels” to define yourself (you don’t see a lot of Rockefellers in the midst of these debates). It’s the use of the “label” that states: I have to assert my own identity. All of us who have to consciously name ourselves have, at some point, been uncomfortable with this (if for no other reason than that someone we don’t like can claim the same label). But you can’t change power structures by simply proclaiming these “roles” (gender, class, race) culturally constructed, and therefore bourgeois baggage. Sure, roles are absurd — and they exist for reasons. “Deconstructing” them without challenging the power of those who make them necessary doesn’t accomplish anything — it’s only playing dress-up with fancy words. This idea — everything is fluid, we can change the world by blowing straight people’s minds, we can overcome our origins — is nothing new. European and American cultures have a long “bohemian” tradition, and gender-bending has, in fact, been around since at least Shakespearean times. It’s a parlor game the privileged play, and they let some of us “others” in so the game doesn’t seem rigged. It doesn’t go to the root. And along the way it accomplishes the power structure’s dirty work: it makes it look like we can “transcend” who we are and all become “human.” Race and class become things we can shed — and should try to. Womyn-only space is invaded and neutralized. Which is why it seems to me so important for us to do the work of claiming ourselves. Our own bodies, our pride in them. As often as we have to.

“Notes for a Magazine,” Elana Dykewomon in Sinister Wisdom, spring/summer 1993.