#lonnnnng post

[dufrau]

ANYWAY i am in my feral-about-the-smell-of-dinner-cooking era and I will remain this way for at least 3 more hours. if you need me i will be ripping things apart with my teeth.

[awbublie]

chat am i an aphmau fanpage now?

i might post some of my aph redesigns i did a couple months back. I feel as if her skin didn't really give off the serious vibe she carried towards the end of season one. I think she needs something that can look a bit childish, like how she was a bit in the beginning, but still matriarchal. i dunno i think i would need to talk about it in depth but like LONNNNNG someone tell me to and i will!!

okay thank you for listening <3

[ageless-aislynn]

Just for the sake of posterity... I've completed Scott and Jaal's romance, we beat the Archon, Meridian is settled and I've got almost 580 hours in on this game! And we saved Captain Dunn while we were at it because, in this house, we love and respect Captain Nozomi Dunn and we take the time, even when we're doing a straight up romance run, to recruit all 3 Pathfinders so that Captain Dunn doesn't die at the end! *nodnods very firmly*

Seriously, it takes less time to skip the Turian and Asari Pathfinder missions (you'll get the Salarian Pathfinder no matter what) but without all 3, Captain Dunn will die when the Hyperion crashes and that makes me feel AWFUL. I already feel bad because I've spent the whole game dodging the side quests she keeps trying to give me, lol!

Anyway, I'm gearing up to play as Sara again after a lonnnnng span of playing as Scott. And, since the People Have Spoken™️😂 I'll be playing as my original red haired Sara!

There's no telling who I'll be romancing. IT COULD BE ANYBODY. LITERALLY ANY ONE OF SEVERAL OPTIONS. ANY BODY.

Although, to be fair, I'm really wanting to romance my best Turian girl Vetra again. So I miiiiiight try to resist the charms of Mr. The Charlatan but we'll see how strong I Sara can be, lol! 🤞😣🤞😉

Aww, Vetra is such a sweetie! 💗💗💗I really do love her so much and, since her Loyalty Mission is only necessary if you're advancing her romance AND I haven't romanced her in a long time, I really want to do a playthrough where I complete the mission for her.

And, of course, I need to see if there's a mod to add the (In)famous Andromeduck. Because, you know, reasons.

Heh. Just kidding on that one, of course. But if I don't at least name one of these ducks "Andromeduck," then I'm doing a disservice to my silly nature. 😂😉

Hey, maybe I should get a rubber ducky and name it Andromeduck? It could go with Garrus and/or Shepard!

Those are just too cute, aren't they? 🤗🤗🤗 (And stupid expensive, oyyyy.)

Okay, that's all for now, frens. I've finally realized what's made me continue to put off playing the OT Mass Effect but that's a rambly post for another time. I'mma get there, though!

Mission: Must... romance... Garrus!

Yeah, I love the Turians, can you tell? 🤷‍♀️😜💖

And I'm expecting my first male!Shep romance to be Tali or Jack. (Playing first as fem!Shep should give me a chance to get to know them all a little more so I can decide who male!Shep will start by romancing but I'm presuming it will be one of them. 😉) And then there are SO MANY others I neeeeeed to romance as both male and female Shep. But I've got to see if I can optimize three games like I've learned to do for Andromeda so it won't take me years and years to get through them all, lol!

Aislynn, age 502, still at her computer, doggedly trying to play all of the possible male and female Shepard romance options 😮🤣

Enough for now. Love you all, frens, and hope this finds you very well. 🤗🤗🤗

[saintmeghanmarkle]

Is Daylesford Organic the blueprint for American Rivera Orchard? by u/Aware-Impression8527

Is Daylesford Organic the blueprint for American Rivera Orchard? Daylesford Organic is a lifestyle brand in England. It started as a farm shop -- more of a vegetable boutique really -- but diversified into homeware, recipe books, garden tools, pet products, skincare, and wellness accessories. In short, all the things we know are covered under the ARO trademarks.The brand grew slowly and (forgive the pun) organically. It's the passion project of Lady Carole Bamford. The company is solvent now but it was running at a loss for YEARS. They could absorb the losses because the Bamfords have pots and pots of money.I say all this because Daylesford is a real place in Oxfordshire. And it happens to be five miles from the farmhouse in which Meghan and Harry lived before they moved to Canada. It is where the influencers lunch on their way home from the Soho Farmhouse. Meghan almost certainly frequented it.Daylesford's brand is and always had been cohesive and meaningful and even though some things are eye-wateringly expensive, there are enough reasonable priced things for aspirational middle-class people to buy into the lifestyle.Lady Carole is new money but it's lonnnnng money. She epitomises quiet luxury and would not be seen dead traipsing through her kitchen in a ball gown. She is discerning but not pretentious and, above all, kind. Even if Daylesford is the inspiration, Meghan is going to need a lot of capital to get it ARO and an impeccable team to get it off the ground. I very much doubt that the mind behind Haribo will be up to the job... post link: https://ift.tt/aVOMiIZ author: Aware-Impression8527 submitted: May 14, 2024 at 10:32AM via SaintMeghanMarkle on Reddit disclaimer: all views + opinions expressed by the author of this post, as well as any comments and reblogs, are solely the author's own; they do not necessarily reflect the views of the administrator of this Tumblr blog. For entertainment only.

[legacyshenanigans]

I was bored and I found a

"Questions nobody asks"

Thing on the Internet, and I wanna do it 🤣 could consider it as a "get to know me" thing, I guess, haha. Gonna undercut though, because its kinda long. 🤍

1. DO YOU SLEEP WITH YOUR CLOSET DOORS OPEN OR CLOSED?

Who the fuck goes to sleep with their closet doors open?! 🤣

2. DO YOU TAKE THE SHAMPOOS AND CONDITIONER BOTTLES FROM HOTELS?

Ew no haha, because they tend to be shitty shampoos and conditioners. I'm very particular with what I put on my hair.

3. DO YOU SLEEP WITH YOUR SHEETS TUCKED IN OR OUT?

Out, I would feel EXTREMELY uncomfortable if my sheets were tucked in, I move around a lot in bed hahaha.

4. HAVE YOU STOLEN A STREET SIGN BEFORE?

Not a street sign no, I stole one of those big umbrellas from outside a pub once though🤣

5. DO YOU LIKE TO USE POST-IT NOTES?

Not really. No reason to.

6. DO YOU CUT OUT COUPONS BUT THEN NEVER USE THEM?

Nope.

7. WOULD YOU RATHER BE ATTACKED BY A BIG BEAR OR A SWARM OF BEES?

I'm terrified of bees and wasps and shit like that hahaha, but I reckon my chance of survival would be higher with a swarm of bees?

8. DO YOU HAVE FRECKLES?

I do, under my makeup haha.

9. DO YOU ALWAYS SMILE FOR PICTURES?

Nope. 🤣

10. WHAT IS YOUR BIGGEST PET PEEVE?

People trying to talk to me when I have earphones in. A VERY quick way to get on my fuckin nerves.

11. DO YOU EVER COUNT YOUR STEPS WHEN YOU WALK?

No? 🤣

12. HAVE YOU PEED IN THE WOODS?

Yes. 🤣

13. HAVE YOU EVER POOPED IN THE WOODS?

.....Yes. 😅 (while camping in the middle of nowhere, when ya gotta go, ya gotta go)

14. DO YOU EVER DANCE EVEN IF THERE’S NO MUSIC PLAYING?

All the time. 🤣

15. DO YOU CHEW YOUR PENS AND PENCILS?

I used to. Not so much these days.

16. HOW MANY PEOPLE HAVE YOU SLEPT WITH THIS WEEK?

Well, I'm in a monogamous relationship, sooooo. One, lol.

17. WHAT SIZE IS YOUR BED?

King.

18. WHAT IS YOUR SONG OF THE WEEK?

Helicopter Girl - Satan's Seventh Bride.

19. IS IT OK FOR GUYS TO WEAR PINK?

Yeah? Sure? Why not?

20. DO YOU STILL WATCH CARTOONS?

Yesssss.

21. WHAT IS YOUR LEAST FAVORITE MOVIE?

I can't even remember the name of it! Me and my mum are big horror fans, and we hunt for horror films together, and it was your standard, stereotypical folk move into a house. House is spooky. Spooky things happen ect. ect. ect. But it was FUCKING SHITE! 🤣 So THAT hahaha.

22. WHERE WOULD YOU BURY HIDDEN TREASURE, IF YOU HAD SOME?

Near a tree in a woods, then I'd leave a vague note just saying "Its under a tree in *name of woods* " 🤣 That's ALOT of ground to search, hahaha.

23. WHAT DO YOU DRINK WITH DINNER?

Depends on what I'm eating.

24. WHAT DO YOU DIP A CHICKEN NUGGET IN?

I'm a Tommy K gal. 🤣

25. WHAT IS YOUR FAVORITE FOOD?

I fucking LOVE Kinder Buenos.

26. WHAT MOVIES COULD YOU WATCH OVER AND OVER AGAIN AND STILL LOVE?

The HP films.

27. LAST PERSON YOU KISSED/KISSED YOU?

My fella.

28. WERE YOU EVER A BOY/GIRL SCOUT?

I went to Rainbows when I was a little kid, then I went to Brownies (similar kinda thing as Scouts) but I ended up leaving brownies after only going twice because I HATED one of the brownie leader women 🤣

29. WOULD YOU EVER STRIP OR POSE NUDE IN A MAGAZINE?

Sure, why not? Haha.

30. WHEN WAS THE LAST TIME YOU WROTE A LETTER TO SOMEONE ON PAPER?

It's been a lonnnnng time since I've written a letter to someone. Phones exist now, haha.

31. CAN YOU CHANGE THE OIL ON A CAR?

Yeah.

32. EVER GOTTEN A SPEEDING TICKET?

Nope.

33. EVER RAN OUT OF GAS?

Nope.

34. WHAT’S YOUR FAVORITE KIND OF SANDWICH?

Sandwiches in general are top tier scran, but I like meaty big ones 🤣

35. BEST THING TO EAT FOR BREAKFAST?

A can of redbull and a cigarette. 🤣

36. WHAT IS YOUR USUAL BEDTIME?

Depends on my sleeping pattern, sometimes a good 10/11pm sometimes 5/6am. 🤣🤣

37. ARE YOU LAZY?

Yes. Ain't even gonna lie lmao.

38. WHEN YOU WERE A KID, WHAT DID YOU DRESS UP AS FOR HALLOWEEN?

I mentioned above that my mum likes horror, so she would dress me as things like Vampires, Werewolves, The Devil, general monsters haha, which is funny to me because we'd usually all go trick or treating together with my friends and their mums, and my friends would always be things like princess's lmao.

39. WHAT IS YOUR CHINESE ASTROLOGICAL SIGN?

Is that the same as Zodiac? I believe I'm the Rooster.

40. HOW MANY LANGUAGES CAN YOU SPEAK?

Two.

41. DO YOU HAVE ANY MAGAZINE SUBSCRIPTIONS?

In 2023? No lol.

42. WHICH ARE BETTER: LEGOS OR LINCOLN LOGS?

Wtf are lincoln logs?! Hahaha. Legos.

43. ARE YOU STUBBORN?

Absolutely.

44. WHO IS BETTER: KIMMEL OR FALLON?

Who?

45. EVER WATCH SOAP OPERAS?

Nah.

46. ARE YOU AFRAID OF HEIGHTS?

Nah I'm pretty good with heights.

47. DO YOU SING IN THE CAR?

Every damn time. 🤣

48. DO YOU SING IN THE SHOWER?

I don't actually haha, hum maybe, but not sing.

49. DO YOU DANCE IN THE CAR?

As a passenger, yeah, sometimes.

50. EVER USED A GUN?

Yeah.

51. LAST TIME YOU GOT A PORTRAIT TAKEN BY A PHOTOGRAPHER?

At my last day of HS party (Prom basically)

52. DO YOU THINK MUSICALS ARE CHEESY?

I just HATE musicals tbh. 🤣

53. IS CHRISTMAS STRESSFUL?

Not really.

54. EVER EAT A PIEROGI?

What? 🤣

55. FAVORITE TYPE OF FRUIT PIE?

Cherry!

56. OCCUPATIONS YOU WANTED TO BE WHEN YOU WERE A KID?

Honestly, I can't remember 😅

57. DO YOU BELIEVE IN GHOSTS?

100%, I've seen one, don't expect people to believe me, but I know what I saw.

58. EVER HAVE A DEJA-VU FEELING?

All the time!!

59. DO YOU TAKE A VITAMIN DAILY?

No, but I probably should lmao.

60. DO YOU WEAR SLIPPERS?

Fuckin love a good pair of slippers.

61. DO YOU WEAR A BATHROBE?

Yeah.

62. WHAT DO YOU WEAR TO BED?

Depends on the weather.

63. WHAT WAS YOUR FIRST CONCERT?

Nickelback 😅 (DON'T JUDGE ME!)

64. WALMART, TARGET, OR AMAZON?

Well, can't lie, 2 outta 3 of those we don't have in my country haha.

65. NIKE OR ADIDAS?

Adidas.

66. CHEETOS OR FRITOS?

Cheetos because I dunno wtf Fritos are haha.

67. PEANUTS OR SUNFLOWER SEEDS?

Peanuts!

68. EVER HEAR OF THE GROUP BLACK PINK?

Nope.

69. EVER TAKE DANCE LESSONS?

Nope.

70. IS THERE A PROFESSION YOU PICTURE YOUR FUTURE SPOUSE DOING?

It was never something I thought about, infact when I first met my fella I had no idea what he did for work, and never asked because it wasn't important to me 🤣 turned out he had a very good job and I was just like "Oh OK cool" haha.

71. CAN YOU CURL YOUR TONGUE?

Yeah.

72. EVER WON A SPELLING BEE?

I've never competed in one.

73. HAVE YOU EVER CRIED BECAUSE YOU WERE SO HAPPY?

Yessss 🤣

74. OWN ANY RECORD ALBUMS?

Like Vinyl? I do actually haha, some Iron Maiden ones.

75. OWN A RECORD PLAYER?

My mum and Dad did. I don't.

76. DO YOU REGULARLY DIFFUSE OILS?

Yeah, daily, I love that shit haha.

77. EVER BEEN IN LOVE?

Yeah :)

78. WHO WOULD YOU LIKE TO SEE IN CONCERT?

Honestly, I don't really know, too many haha.

79. WHAT WAS THE LAST CONCERT YOU SAW?

It's been a while, but I went to a rock and blues weekend festival thing last year.

80. HOT TEA OR COLD TEA?

Neither.

81. TEA OR COFFEE?

Neither.

82. SUGAR COOKIES OR SNICKERDOODLES?

Don't know what either of those are 🤣 but Snickerdoodles sound DELICIOUS haha.

83. CAN YOU SWIM WELL?

Yeah I'm pretty decent.

84. CAN YOU HOLD YOUR BREATH WITHOUT HOLDING YOUR NOSE?

Yeah.

85. ARE YOU PATIENT?

NOOOOO 🤣

86. DJ OR BAND AT A WEDDING?

Band.

87. EVER WON A CONTEST?

Yeah a few in my time haha.

88. HAVE YOU EVER HAD PLASTIC SURGERY?

Define plastic surgery haha. I've had lip fillers a few times? Nothing crazy. Is that classed as PS though?

89. WHICH ARE BETTER: BLACK OR GREEN OLIVES?

NEITHER 🤮🤮 URGH.

90. CAN YOU KNIT OR CROCHET?

I used to be able to, been a long time since I have.

91. BEST ROOM FOR A FIREPLACE?

The living room.

92. DO YOU WANT TO GET MARRIED?

Yeeeeah one day, but we're chill. I'm engaged.

93. IF MARRIED, HOW LONG HAVE YOU BEEN MARRIED?

I'm not, yet.

94. WHO WAS YOUR HIGH SCHOOL CRUSH?

Oh my god, there was this lad called Jordan in my HS...He would like, tease me all the time though, I would call it "Soft bullying" 🤣 and I LOVED him LMFAO! 😅 I think thats why I like guys who can be abit of a bastard haha.

95. DO YOU CRY AND THROW A FIT UNTIL YOU GET YOUR OWN WAY?

Not really. But I'm a very "Babyyyyyyy? Can I get this?" Kinda gal, to get what I want 😅😅

96. DO YOU HAVE KIDS?

Not yet.

97. DO YOU WANT KIDS?

I'd like to yeah.

98. WHAT IS YOUR FAVORITE COLOR?

Purple.

99. DO YOU MISS ANYONE RIGHT NOW?

Not really.

~

[rowan-of-waterdeep]

I haven't forgotten about Wyll and Dash, and I haven't abandoned them!

I'm slammed with work at the moment, I have a family thing today to celebrate, and I needed to spend some time getting comfy moderating for Theo.

The next chapter is written and almost edited, but the scenes are flowing like a bunch of icebergs through the Titanic, y'know? I need to smooth it out and get it working a bit better before I post it 😭

Apologies for the lonnnnng delay, but I have to prioritise paid work at the moment. Sigh. Why can't someone pay me huge sums to do whatever the hell I want??? (asked everyone ever)

[22degreehalo]

[Okay so this started as a reblogged addition to this previous post of mine but then it got long enough to stand alone sooooo]

Okay actually to narrow this down a bit, there's something incredibly fascinating about the way that despite Ashley being the driving force behind most of the story, it's almost always Andrew who actually commits the physical act of hurting someone.

Because, yes, despite what I said above, that particular aspect of their dynamic is deeply gendered: 'bad women' are usually the ones who manipulate and connive rather than get their hands dirty directly (with the unintended side effect that we tend to not take it seriously when women DO take physical action, because it just doesn't feel as 'real' or 'bad' as when men do it), while physical aggression is limited to men.

But there's so much more to it. There's the way Andrew feels a need to protect Ashley, which takes from the way he was parentified by his mother into having to take care of her as an authority and guardian rather than just another kid in his own right. The fact that Ashley really did need someone to protect her, because... she was kind of badly lacking in social skills and emotional regulation, to the point of exhibiting sadistic tendencies even from a young age. (Or, I suppose I should say, sadistic tendencies that she never grew out of, due to lacking the normal emotional development that sees young kids develop that kind of conscience?) All of which made her, realistically, pretty darn unpopular!!!

But also... that is a manipulation tactic. It's one of the classic signs of a cult: pressure/coerce a member to engage in some kind of morally reprehensible action, and once that's happened, it becomes far far harder for them to get out. Partially because they've now badly severed any other outside support systems; Renee knew what happened with Nina, and even if she had more hope for Andrew than she ever did Ashley even after that, it clearly framed how she saw those two and their relationship after that point. And, y'know, there's the fact that Andrew is seriously worried that they'll be thrown in jail, which means that he can't tell anyone else what happened, or even let them realise 'how bad' Ashley is, or they might start remembering that missing girl Ashley always used to hang out with...

But also partially because it complicates any internal sense of being a victim of another person's abuse. How can you act like you're some sweet little innocent baby, pushed around by the big old scary abuser, when you yourself have blood on your hands? (Part of why I find it a bit... unsettling? How many people in the TCOAAL fandom sincerely spread that his relenting to Ashley's manipulation makes him 'just as bad'.) It creates an internal sense of guilt and 'need' to be punished, or to be controlled by somebody who can make the 'right decisions'. And it furthers a sense that there's 'no going back' - that there's no point in even trying to escape this relationship, because it's gone too far, and the victim has already given up any hope of having or deserving a life outside of it.

And that's related to something I've had bouncing around in my mind for a lonnnnng time, but still even now don't have the brainspace to fully unpack it. People talk a lot about the inherent trauma of being a woman living under the patriarchy, but I think we don't discuss enough the inherent moral damage of being a man under the same circumstances.

Men are raised to see themselves as aggressive; hostile; killers; predators. They're taught that any sex they get from women is at her expense, a deal that can only be made good by their being Successful Enough to 'earn' it. That success, of course, is zero-sum; men must prove themselves over other men competitively to 'win', whether by earning more money, being more dominant, or (in attemptively progressive spaces) by being 'nicer' or 'better feminists' than other men. Men are expected to sacrifice; to war, to defending the women in their life, to working themselves to the bone under capitalism where women are 'supposed' to rely on men, instead. And that 'protecting' inherently implies violence against other men: men are expected by default to be able to throw themselves into the fray and get beat up and beat up somebody else in turn, and if they can't, they're viewed as lesser; pathetic and selfish. Men aren't given any support system to NOT be capable of inflicting violence. No matter how pacifist or anxious or disabled they are, they are in and of themselves viewed as 'acceptable targets' of violence, due to a perceived inherent ability to enact violence themselves.

Of course Andrew is the one to pull the trigger most of the time. Of course he takes it on as rote, as just his expected part in their messed-up relationship. Of course Ashley gladly lets him, even when she's the one who really wants to see the victim hurting. Of course Ashley encourages him into it, making him part of her decisions, binding him to her in blood over and over again, and of course she then throws it in his face as him 'choosing her', because what can he plausibly say to argue against that? And, then, of course his 'decay' involves turning his violence against both Ashley and himself, because he's too far gone to turn back now and become the monster Ashley was trying to turn him into.

AGAIN, I don't mean this as anti-Ashley; I think this is a super insightful display of both gender and abuser dynamics, and as I've said above, there are a whole heck of a lot of reasons why Ashley is the way she is. Also, fucked up and unjustifiably bad female characters are good sometimes!!

Just. Ashley does, canonically, encourage Andrew to engage in acts that his conscience rails against - actions that fill him with guilt and emotional pain - and then uses all of that to tie him to her ever stronger so he'll never leave. It says a lot that she gets so nervous when Andrew stops acting so guilty in the Burial route; because if she can't throw that moral damage back at him, how is she supposed to make sure he doesn't leave? If he's happy and well-adjusted and believes he deserves a decent life, why would he ever willingly stay with her?! (So she thinks.)(Not that she's entirely wrong, but.) She doesn't trust healthy relationship dynamics; she trusts guilt and trauma bonding.

(And it also means something hella big that Andrew seemingly doesn't get quite so many of those guilt-ridden nightmares as he pretends. Is he trying to pretend to himself he hasn't already slipped so far? Does he crave Ashley's loving reassurance just as much as she wants him to need it? It's like... speaking of intricate rituals, holy hell if this isn't fucking one of them: getting messed up in the head over committing cannibalism and murder, but then continuing to pretend that it's messing you up long after you're sorta getting over it, because that's the safest and easiest way to make your sister happy and nice to you.)

[blitz0hno]

Never knew you wrote fics, I’ll ask some for that post about it, q 11, 12, 19, 23

Thank u!! Yeah there's a reason why no one rlly knows, I barely write anymore and have actually finished/posted just one Milgram fic (under my Mikoto tags somewhere cuz ofc it is) here, but I'm planning more!

11. A WIP you'd like to finish one day: Oooooh there's one revolving around Amane that I really want to flesh out... Mainly her relationship with Fuuta and the other younger-adult prisoners, and how I imagine being in Milgram for so long would affect her worldview. There's a lot to explore especially regarding what I see as her systemhood and everything.

12. A trope you're really into right now: Hurt/comfort and found family are pretty consistent favorites of mine lol

19. The most interesting topic you've researched for a fic: A lonnnnng time ago I was writing Fate oneshots with my bestie and I wanted to incorporate the magic system combining irl magic beliefs; it was a really interesting rabbit hole and honestly kind of influenced my current spirituality stuff

23. Pick three keywords to describe your writing: Angst, dialogue, headcanons

[fukae-flwr]

Wisdoms of a Ghost

Edith can still feel Isidora's presence in the castle, almost if a peice of her remained. Sometimes, it felt like the woman was calling to her, the whispers at the back of her mind, hidden within the heavy darkness. Finding Isidora's memories was just the beginning, Edith knows it.

Edith promises, swears to herself, she will not make the same mistakes. Edith knows she can be better than her, and yet fear tickles at her spine. Isidora is someone who can'tbe trusted, yet Edith has no hate for the woman. She did more than most, certainly more than those so called keepers, albeit bad things, but nonetheless more.

A part of her knows she is not gone, not truly. Somewhere hidden in the walls of hogwarts, or hidden somewhere with ancient and dark magic, Isidora left a piece of herself. Left a piece for the next witch or wizard just like her to find, and taking in the dark magic was the first step. But to seek Isidora and be a tool for her to exploit or to mentor and assist in Edith paving her own path is the question.

Edith wants to improve upon Isidora's work and do what she had initially intended to help others. But as the saying goes,

"The road to hell is paved with good intentions."

Hello lovelies! I haven't been too acrive, plus I've been doing other stuff, but I wanted to post this for a LONNNNNG time! Im proud of this piece!! Soooo many details. I didnt post it right away cus I wanted to have a short for you but i couldn't come up with one that quite fit the narrative, so you'll just have to settle for some facts on Edith!!

[hypnotic-kink]

Greetings, Most Hypnotizing of Alphas.

I was curious: what are your thoughts on Subs who "Top from the Bottom"?

Also, please enlighten us plebian masses on the greatness of Klaus Mikaelson :)

P.S. Your Posts are amazingly tasteful yet kinky.

Love this question! I'm not a fan of topping from the bottom which I feel is different than a playful brat. Why would a Dominant want a submissive that is constantly disobeying orders, having the audacity to tell her/his Dom what to do, etc.? Perhaps the sub is confused and is really a switch. But If I were a Dominant, I'd be finding another if topping from the bottom continued because what is the point if they're going to do the controlling. With that said, I've done it in one aspect only lol, but in a healthier way because my submission is a little different than most. Being an Alpha, I'm stubborn, i tend to test a Dominant. it's my way of ensuring the Dom is strong enough and can keep me in check. I need strong and firm. I lose respect if they let me walk all over them, so yes, it's testing them at times, esp. at the beginning. So, in this scenario, it's more encouraging Him to reign me in. I *NEED* Him to reign me in! I surely don't want to get my way in everything, I want to feel owned. His way not mine does that and also lets me feel I am pleasing Him, so He pleases me in turn. I have a safe word and will use it if too much control is making me uncomfortable. I lose respect and am disappointed if a Dom cannot step up to the plate so to speak. Doms I've been with know this about Alphas though, challenging for sure. Once I know He is strong and firm enough to handle me, I tend to stop doing that.

Can't say I'm not a playful, feisty, and mischievous brat at times. The Dom already knows I'm *obviously* provoking some playful fun (e.g. a spanking, etc.) I don't feel a Dom should stifle me to become a different person or a floor mat so usually this is enjoyable for both of us but it's completely different than topping from the bottom since I make it obvious to my Dom why I'm acting the way I am. Hope that clarifies the difference to me.

❤️ KLAUS MIKAELSON ❤️ For those that don't know, an actor, Joseph Morgan, starring in the lead role of the vampire show "The Originals." Where do I being, haven't crushed on a character in a show in a lonnnnng time. i know it's ridiculous, but I don't care :) Everything that draws me to this character: His demeanor, his accent, how articulate and witty he is, his anguish, his sarcasm, how protective he is, he's charming, good looking, his decisiveness and how He interacts with the other characters is what does it for me and the ultimate 'bad boy" but loves so deeply in the show doesn't hurt either. Of course, it's a character in a tv series, but lemme tell ya, in a fairytale world, He can bite my neck anytime ;)

[tteokdorokimain]

hi! i didn’t want to reply under your post with this as i wasn’t sure if you would appreciate it, but i’m not sure how my comment was backhanded.

i loved your piece.

after reading it the first time i thought gojo had died but then you brought up suguru.

so i read it again and got a understanding that gojo is ‘dead’ bc of suguru’s death.

i’m not up to date with jjk so i don’t know if your post had anything to do with the story line.

ik it’s a LOT going on in this ‘ask’ but i hope my explanation makes sense as i was not trying to be ‘funny’ about your post.

i’ve been following your blog for a lonnnnng time now and didn’t want you to think i was trying to be. :)

hi !! that’s fair !! im not up to date on the manga either so i understand where you could be confused by the plot!

but at the same time - im not to know that you’re not up to date w jjk !! so when i initially read your comment it basically sounded like you were telling me my writing was confusing or didn’t read well but you somehow loved it. do you see where im coming from? and how that might appear to be back handed?

like it’s not nice to see or hear that your writing confused someone. clearly it was a misunderstanding, but it would’ve been much nicer or more meaningful if you had left it as “i loved this” or whatever!!

either way no hard feelings !! i don’t think u were being malicious and im not mad - i hope my explanation makes sense <3

[joemuggs]

The Lonnnnng View

The brilliant Charlie Fracture just sent me his new blog post, Let's Take It Slow: The Wonders Of Slowing Down Music And The Importance Of The Long Form Listening Experience, saying "thought you might enjoy reading it". And I did, I really did. It REALLY spoke to me. I love slowing things down, I'm always doing it when DJing, as on this short mix when I took early hardcore rave and slowed it back towards the speed of the hip hop it was sampling. And I thought, hmm, I'm sure I've written about this somewhere... after a bit of head scratching and searching through old emails, I found the following article from the 2012 WIRE end of year issue. It's a bit sprawling, but it's on to something, you know... and somehow looking back over decades (as Charlie's piece does too) suits this topic. So.........

👇🏻

Off the grid

Club music's relationship to its own regularity has always been complicated, but 2012 saw these complications multiplying and the music pushing at its patterns and grids in some radical ways. While for many the story was of a retreat to the safety of familiar forms – mid-nineties house and techno in particular dominated, with a jungle revival nascent – in darker corners things were pulsing and warping, starting to ooze and waft around the steady four-square rhythm patterns that have been foundational at least since the invention of the sequencer. This was not a new genre or style in the conventional sense, rather the convergence of some key trends in 21st century music, the coming to a head of certain pressures, creating an uneasy but thrilling sense of potentiality. These are: slowness, rhythmic slippage, and a more physically expressive interaction with the digital means of production.

The tendency to slowing has been brewing for a long time but was everywhere this year. In 2012 the likes of Andy Stott, Demdike Stare, Raime, Holy Other, Old Apparatus, How To Dress Well, Lukid, Om Unit, Hype Williams and Downliners Sekt all dropped releases with rhythms so stretched that they become textural waves rather than percussion, magnified so that every surface of every sound becomes an environment. The tracks, when played on suitably sizeable speakers, are chambers into which one can enter – sometimes desolate and forbidding as with Raime, sometimes voluptuous and dangerously seductive like Holy Other, sometimes Tron-like and glossy like Om Unit, sometimes fantastical and bejewelled, as in the baroque complexity of this year’s EPs by Old Apparatus. This was “post-dubstep” not in the standard sense of simply applying dubstep's tropes to new rhythms, but in building from first principles entirely new takes on what it could have been.

Dubstep itself had an eye on those first principles, too. This was the year that the “dungeon sound” became prominent: the creepy-crawling update of the earliest half-step rhythms with added production finesse and technologically-enabled sense of detail saw the stock of originators like Distance, Tunnidge and Kryptic Minds, and newer talents like Mancunians Compa and Biome rising. It was a reminder that dubstep's original appeal was about bodily immersion and undulating push-pull physical dynamics rather than about the rave rush and the spectacle of the “drop”. Though we were reminded by the increased profile of Digital Mystikz's Coki – incredibly only now after a decade of dubstep production becoming a full-time musician and launching his own label – that even the harder end of dubstep doesn't have to be predicated on percussive impact: at the heart of even Coki's most violent tunes is always the sluggish undercurrent of his preposterously fractal, semi-liquified “scrambled egg” bass tones.

Even drum'n'bass continued a relationship with slowness. While one end of the scene intensified like commercial dubstep into hyper-pop, reaching vast new audiences, the spaced-out half-tempo “Autonomic” tendency of the last couple of years continued to develop. An album from ASC, various releases on the Space Cadets label, and most fascinatingly a terrifyingly psychedelic EP by Archer & Asanyeh on Romania's DubKraft label all turned d'n'b's velocity in on itself, creating suspenseful, gravity-loosened environments in place of demented drive. House rhythms, too, proved capable of suspending time, particular in the hadns of those re-examining the sparser strains of UK Funky and its potential to draw dubstep and Grime’s sonorities and double-time funk into a more considered space. Wen, Visionist, Beneath, Filter Dread, Shy One, DVA and Cooly G all to some degree created eerie, strangely static rhythms in this way. And throughout the underground, like an underlying pulse that influences all around it, increasingly ran samples of or references to the ‘trap’ sound of US hiphop: layered 808 kicks separated by large space through sheer necessity due to their gigantic size, and looping pitched-down vocal samples running throughout, a 21st century counterpart to the dread signals of reggae vocalists that were cut up into 1990s Jungle.

As Bristol DJ/producer Pinch put it in his Wire Invisible Jukebox interview (The Wire 346), “the way we perceive tempo and the rhythms we're most affiliated with does change, based on situations you're in and the way you tune your head to the world.” What it seems the new techniques of music creation allow is getting closer and closer to real-time manipulation of these changes, to “tune” not just the head but the whole nervous system of the listener in more and more precise ways: where the rhythmic codes of other dance rhythms may aim for the head, hips and feet, the enveloping flows and larger spaces between beats of slower music speak to the entire body as a whole. All of this is about the positioning of bodies in relation to music, allowing new ways of coming close to and entering into the music: about sculpting the affect of the sound in four dimensions. And it's technologically-enabled, the ability to zoom into the finest detail and view all the inhuman complexity of those sonic surfaces and spaces a function of just how much information is being pushed through digital signal processing (DSP) now: we are reminded in no uncertain terms that the dancefloor experience is the interface with that vertiginous information flow. As the hyper-acceleration of jungle illustrated the foaming wave of the digital future cresting as it rushed towards us, so this tendency speaks, perhaps, of it having broken and immersed us.

Rhythmic slippage is directly related to the way that slowing music makes it come in waves as much as beats or pulses. Dubstep, as mentioned, continued to prove it was about tones that undulate around and over the beat as much as the beat itself. Chicago's footworking sounds established that their determinedly tricksy rhythms were here to stay as part of the international dance language. The psychedelic hip hop of Flying Lotus and co has been elaborating on the lurch of J Dilla and the astral analogue funk of Sa-Ra for some years now, but in 2012 we saw plenty of proof in tracks like Fly-Lo's “Pretty Boy Strut”, Mark Pritchard's beats for Wiley, and the gloriously juddering melting pots of Geiom's and dÉbruit's albums, that this too is now established globally as dancefloor-rocking music, not just some over-elaborated gentrification or neo-triphop. It's no coincidence that the London club night where Kutmah, Om Unit, Kidkanevil, Blue Daisy & Offshore play these decentred beats is called “Tempo Clash”: this is, again, about grooves slithering out of expected tempo constraints, and more generally out of expected patterns.

Once again, this was about the body in relation to data: about the physicality of musical (re)production, the sampling of complex jazz playing, the hands dancing across MPC pads, the passed-down skills of the scratch DJ being applied to CDJs, touchscreens and other Ableton controllers. Whether in footworking beats or Fly-Lo's Brainfeeder imperative, it was the return of the repressed b-boy drive, a deranged scrawling of digital wildstyle lines across the weird, wired world. And again this was a tendency that had been building for some while, but in 2012 it became apparent that a convergence was taking place between tempo meltdown, rhythmic looseness and this new sense of placing of the body in relationship to the music. We begun to see – in dramatic contrast to the overtly cerebral abstractions of 1990s “IDM” – how the input-output between fleshy bodies and digital transmission systems could be made bigger, sloppier, stranger and more involving.

In this there were close parallels with The New Aesthetic – the (mainly) visual movement that coalesced in the spring of 2012 around a panel organised by British theorist James Bridle and popularised by Bruce Sterling. The New Aesthetic zooms in on the cracks in our day-to-day datasphere, glitches in normality, the sudden Turing Test fails, the moments when the comforting shields of digital culture wobble and you see the bots' myriad eyes peering out at you and assessing you. It's about revelling in ruptures between what we have naively cast as two separate worlds: the physical and the digital. The New Aesthetic – and the lurching, pulsating weirdings of electronic club music that warp and crack the regularity of sequencer patterns – are about the horror and thrill of realising that what is inside the computer and what is outside are all the same system, that we are submerged in floods of data.

It may even be that Burroughs's adage that “when you cut open the present, the future bleeds out” has some traction here: by defamiliarising the rhythms of common genres, by warping and cracking them, we may be discovering ways through the illusory impasse of the everything-available-all-at-once overwhelming by the past and present. Certainly these techniques are a way of breaking the comfort and ease that readily available sound manipulation technology – in particular the omnipresent Ableton Live – engender. Whether it's the excessively sensual surges of sound in Holy Other, the flailing iPad abuse of Gaslamp Killer or the rusted and irregular-edged grime of Filter Dread and Sd Laika, everything here can be seen as a reaction to the predictably mixed and mixable flows of the Ableton DJ generation. When precision and perfection become easier than making errors, magnifying and repeating errors suddenly seems hugely compelling.

Whether it can go further, or whether these remain just pockets of resistance, is questionable. Dance by its very nature is predicated on some degree of regularity and coherence, and the global forces of “EDM” – the all-encompassing term used since house and dubstep bizarrely gatecrashed the US mainstream at the turn of the decade – seem to increase the pressure to conformity and easily-packaged units of DJ culture. Again in The Wire, Pinch talked of wanting to emulate the freedom of tempo and metre in the Qawwali music that he has often taken inspiration from but bemoaned his lack of the “musical intelligence” of the Qawwali musicians – hinting towards an entirely new understanding of the production of rhythm that needs to be collectively built to cope with the possibilities of more flexible and expressive technology.

Dr Matt Yee-King, teacher of Computer Music at Goldsmiths college, and researcher into technological interfaces between sound, mind and information says: “musicians might start to realise that the best way to escape the grid is not to use the grid,” that is to abandon sequencers entirely in favour of all-live coding and manipulation, but it is still extraordinarily rare that club musicians and DJs feel able to break loose completely from the metronomic diktats of sequencing tools like Ableton. The grids are still in place. The slippage and melting of rhythmic and tempo constraints that have come to a head in 2012 are not a revolution in themselves, and whether one is possible is yet to be proved. Could a digital Coltrane or Hendrix, or a collective sound as improvisatory and free as Qawwali, emerge from these new opportunities, and actually become a part of the world's nightlife rituals? For the first time maybe since the peak of jungle's rhythmic fury, these extreme possibilities don't seem entirely ridiculous.

[mslunita]

i haven’t used tumblr in so lonnnnng i just found a bunch of my old posts on my old tumblr im crying... anyways hi it’s me carlota from twitter maybe i’ll start screaming into the void here more often.

[foxedthecards]

♞ : Which do you prefer, shorter or longer roleplay posts? ✘ : Are there any genres you refuse to write for?

@the-haunted-office

((A lot of that depends on the mood I'm in and how much work has wiped me out lol but I am really good with both. Please understand sometimes I might write a lonnnnng reply to a short little post because I am feeling verbose or do a short reply to a long one: please don't be irritated if it's a bit wordy and please don't get anxious and worried if it's brief nine times out of ten it's got everything to do with my energy levels lol))

((As a rule I'm generally open to different genres even if I'm not familiar with them, because as a writer I like stretching my muscles and trying new things. Having said that I do tend to be weak with sci-fi and franchises I'm really unfamiliar with but even then that can be subjective. It depends on how it grabs me))

[s0domizer]

thanks to the internet archive i am now moving on to the fate of the phoenix. i will post a lonnnnng post w my thoughts on the price of the phoenix later :3

[the-scungles-of-crungles]

The amount of people in the fnaf fandom I've seen with "dni if you ship Vanessa/Vanny x William Afton/Glitchtrap" or whatever in their pinned posts is making it kinda tempting to make a silly little AU tbh

Also did something. Happen in the fandom or whatever why is this so common now. I haven't even seen anyone actually shipping them in a lonnnnng time why are we suddenly putting up defenses