#riot volte

[familylightfox]

@reflections-of-mobius asked:

There was a soft glance between emerald and hazel, a moment of doubt solidified only in that the two would be approaching this together. They breathed in, a collective soft inhale as they turned their attention towards the door of the inn. The sun's rays were high overhead, illuminating the world in bright hues.

But the two mobians couldn't help but be nervous- they had up and disappeared months ago, the only warning they'd given that they'd be back in due time... But it had been so long. Cautiously, each reached out a hand- the usual sight failing to bring chuckles to the tired couple's muzzles, this time. They jointly knocked on the inn door, waiting for it to open as soft smiles finally, finally dawned on their faces.

"Been a while!...sorry about that, guys.." Bless chuckled quietly, scratching at the back of his head with an apologetic smile. He couldn't hide his tail that had slowly begun to wag back and forth. Call him hopeful, but he'd missed the two a lot- and even seeing their faces after so much work made it all worth it.

"...hope you don't mind we dropped by?" Node tilted their head slightly, an ear flicking slightly back. "How've you guys been?" They weren't sure what to expect- and that made them just a hint nervous (who were they kidding, they were a bundle of nerves).

The two had already agreed that, if this went well... They'd have to find some way to make it up to the hybrid and his daughter- but that would be a hurdle for the future. Right now... They just wanted to reconnect, after so much time away. However the two hybrids reacted... The couple would accept it.

~ ~ ~ ~ ~

It was always an odd look given to the door whenever someone knocked. The Inn was always open to anyone and almost everyone that came to the village knew to just walk right in, but the knock was familiar. So was the energy behind it.

Volt knew that energy by heart, held it within his heart if one looked close enough, and quickly came around the counter in order to open the double doors. The instant his eyes looked upon those familiar faces, his arms were spread and both of them were pulled in for a tight hug. He took turns on who was getting the bulk of his cheek rubbing against theirs and also snuck a few kisses where he could while they spoke.

"As if I would ever be mad 'bout you comin' t' visit." Words were so easily muddled by the deep rumbling purr that had settled into his throat, but what might not have been conveyed in words, certainly were in his actions. A small gathering of tears had formed in the corner of his eyes upon being reunited with the two Mobians who held his heart.

"Bless! Node!" Harmony's call came from behind the pair, having been just making her way home from picking up supplies in the market. While she wasn't willing to dump the packages in her arms, a pep in her step allowed the teen to close the space and set it all onto the porch first.

A moment later and Volt laughed as his daughter lifted all three adults into the air to give her own hugs.

"Daddy and I missed ya so much! Where ya been? Ya gotta tell us all about whatcha been up t'!" Already her thoughts were going a mile a minute, needing to be tapped on the arm by her father's fingers to pause long enough for him to get a word in edgewise.

"Pumpkin... I'm sure they'll be more than happy t'... On their feet."

"Huh?" Emerald eyes blinked, pink suddenly crossing the powder blue muzzle. "Ooops..."

Harmony set them down, backing up with a wag of her tail while also scratching at the back of her neck. It was easy to see that she would have been more than willing to dive right back in for hugs the second she was given a chance.

[avomagazine]

In one month's time, steampunk metal band FATE GEAR will kick off their third European tour, with shows in Germany, the Netherlands and the UK. Which show(s) are you going to attend?

More information about the upcoming European tour of FATE GEAR can be found here.

[la-noche-cae]

I think it's Extremely Relevant right now to talk about Skylanders' military propaganda [Edit].

I will not be graphic. But your further research on this... most likely will be, at least in a descriptive way.

A. Skylanders was created by Activision, the same company that made Call of Duty. Call of Duty (among others) is a game used to reel in youth for army recruitment. Just to picture what's the typical order of business for leaders at the company.

B. The whole idea of the Academy, ranks, "Us vs Them" mentality. "Light and order" vs "Darkness and anarchy". Regardless of your opinions on Anarchy as a system, darkness often equaling Kaos' workers such as trolls (and even gyps*es), and for Skylanders meaning dark skinned creatures, is pretty clear sign of their idea of evil.

[Edit: Light=Good and Darkness=Evil is not a universal experience. Multiple cultures consider it just as sacred, an equal, instead of an opposite to Light. Symbolically and Philosophically, there's more to it, beyond the typical eurocentric imaginary.

Speaking of eurocentric imaginary: to an uncritical consumer, this could potentially reinforce their ideas of good and evil. There is little wiggle room for these ideals to be challenged. They are exceptions of Skylanders' norm.]

C. Just in Superchargers, there are references to a Border being kept between Skylands and Outlands, High Volt being this "elite guard" that protects the border. Notice he looks like a riot police, in colors and gear- one of which is a riot shield. Protesting is a right, and in these parts of the world, it is often met with unhinged police violence. Regardless of your opinions on borders, the way such a thing is enforced in the USA is extremely violent. Even here in Puerto Rico, we have border patrol and constant surveillance (mostly aimed at keeping out our Dominican neighbors).

Do not get me started on the long history of Puertorrican oppression inflicted by USA Imperialism. (Agent Orange, Forced Sterilization, Vieques Occupation).

[Edit: Just... Copaganda in My video game? No, thank you. For ME, If I portray High Volt, I'd redesign and reinterpret him. He's like, a lightbulb. Perhaps he is part of a watch tower, but for other purposes].

D. Sorry, Nightfall here goes another problematic thing about you: Nightfall is dressed like a type of Navy admiral: A long coat with yellow buttons and yellow cord epaulets. She also has a vehicle called the Sea Shadow, referencing a real-life military ship designed for surveillance.

[Edit: Not every country has a military. And those who do have the biggest budget for it are typically using it as an imperial, colonial force. This is important, more so because Skylanders' target audience is the young eurocentric USAmerican. The parent company is Activision Blizzard, stationed in USA. The way other Skylanders talk about the Superchargers is like the Air Force are talked about by others in the army- they are the more "prestigious" ones with shiny new vehicles lmao].

E. The idea is that one can be a hero through this hard, thankless fighting... in another's land, "Securing" that land from the "evil ones". Sounds like Occupation and / or a Coup to me. Goes hand in hand with the point about Borders and Light vs Darkness.

[Edit: People. I am talking about this above with Manifest Destiny in mind. I am not claiming all the Skylanders are colonizers, lol! I'm saying there's way too many references to USA military propaganda to ignore. I ask you to use your own discernment / research to make your conclusions. There are things I didn't pick up.

I simply did Not appreciate Buzz telling Stormblade to do Psychological Warfare, or calling Glumshanks an "apple-polishing troll" when the guy just wanted to help. To me, this is not funny haha. It's funny like weird!]

___

These are the things on top of my head I've wanted to talk about for a while, but now more than ever is pressing to bring it up and discuss with intent to move forward. Don't go "You're overreacting" Please don't tell me I don't know anything about something I experience every day. Also, don't put words in my mouth, thanks. You can visit this post if you have questions.

If you can help it, don't give Activision any more of your money, for example, buying their newer games. Buy second hand.

Avoid spending at companies like Airbnb (which not just supports settlers but directly worsens my country's housing crisis), Apple, Hp, Motorola, McDonald's, Starbucks, Coca Cola, Mars chocolate, Nestle are a few others that dont have a clean track record. Get familiar with modern-day imperialist interest around you on your own, or with friends.

👋[If your knee-jerk reaction to this is to hate me perhaps inspect why that is? I'm not a big influential blog. Why you threatened? I can't force you or bully you to do anything, I'm just making my opinions known].

[dyadhogs]

– @familylightfox asked: "Harmony mentioned ya weren't doing too hot, but I didn't expect this…" Volt offered a smile as he set down the small bag of goodies. Quite a few drinks and snacks. "I told the nurses they were for your friends, but I won't tell if you don't. "And before ya ask, Harmony will be by later. She smashed her communicator and is waitin' for Buddy to fix it."

---

it was an apt description, as much as basswood hated to admit that. he looked no better than he felt and had only just been allowed to sit up in bed. staying awake was a work in progress but he was alert for volt's visit and he was glad for that. he could use the company while his friends stepped out for a moment and change of scenery. and the snacks. hospital food was so not cutting it.

❝ i doubt you'd be doing much better with a couple fractured ribs, a broken arm, a recently reinflated lung and a few missing inches of your insides... ❞ okay, bad example. he had almost forgotten who he was talking to for a moment and, admittedly, the pain was still making the speedster a little grumpy. but he took a breath and offered a genuine smile once he calmed down.

he really was glad to see his friend. sorry the hybrid had to see him like this, but glad all the same.

and there was a definite uplift in his mood when he started digging through the offered bag, pulling out a few snacks with a certain fervor. ❝ eh, what they don't know won't hurt 'em, right? and if I have to eat any more fruit gelatin i'm going to start a riot. ❞

he was, for once, not kidding but did look back at volt at the mention of the teen, curious. ❝ ames mentioned she wasn't happy to hear what happened. i'll take it she hasn't done any too reckless since hearing about it? ❞

[acronym-chaos]

Gorillaz Themed ID Pack

[PT: Gorillaz Themed ID Pack].

[ID: A purple thin line divider shaded at the bottom. End ID].

Names

[PT: Names].

Ace, Axel, Banshee, Blaze, Blitz, Bones, Brick, Byte, Cipher, Colt, Dash, Decker, Diesel, Drift, Duke, Echo, Ember, Fang, Finley, Flux, Ghost, Glitch, Grit, Haze, Hunter, Jet, Jinx, Juno, Knox, Lazer, Mojo, Neo, Nero, Nyx, Pulse, Quake, Raze, Rex, Riff, Riot, Rocco, Ryder, Shade, Shift, Skye, Slade, Slick, Sly, Spike, Steezy, Storm, Tonic, Trace, Trip, Twitch, Vandal, Venom, Vex, Volt, Vox, Zeke, Zen, Zephyr

Pronouns

[PT: Pronouns].

Amp / Amps / Amps [Amplifier]; Ba / Bass / Bass'; Bea / Beat / Beats; Bit / Byte / Bits; Bu / Buz / Buzz; Ec / Echo / Echos; Groo / Groove / Grooves; Jam / Jams / Jams; Riff / Riffs / Riffs; Ro / Rock / Rocks; Sy / Syn / Synth; Tu / Tune / Tunes; Vi / Vibe / Vibes; Vo / Voca / Vocas [Vocals];

Titles

[PT: Titles].

The Audio Alchemist, The Beat Dealer, The Dystopian Dreamer, The Echo in the Machine, The Glitch in the System, The Pixelated Punk, The Rebel Beatmaker, The Rhythm Renegade, The Sonic Trickster, The Urban Phantom, The Virtual Rebel, The Voice of the Streets, [Pronoun] Who Echoes in the Underground, [Pronoun] Who Surfs the Digital Waves

[ID: A purple thin line divider shaded at the bottom, end ID].

Requested by anon!

Also tagging: @pronoun-arc @id-pack-archive

[diceriadelluntore]

Storia Di Musica #299 - Sonic Youth, Daydream Nation, 1988

Il mese delle scelte con doppia voce cantante maschile e femminile termina con un disco epocale. E poche volte l'aggettivo calza a pennello come questa volta, in un disco, doppio, che accumula tutte le idee di una generazione del rock alternativo americano, per un lavoro discografico seminale da cui fioriranno artisti e idee prorompenti degli anni a venire. La storia degli artefici di questo disco inizia qualche anno prima, nel 1981, a New York. Al Noise Festival organizzato dalla galleria d'arte White Columns, quando Thurston Moore sta suonando con la sua fidanzata, Kim Gordon, e vengono notati dal comnpositore e musicista d'avanguardia Glenn Branca. Tra loro nasce subito un'intesa, e uno dei collaboratori di Branca, un chitarrista dalle idee molto originali, Lee Ranaldo, si unisce al gruppo, che una volta trovato un batterista, Richard Edson (ma ne cambieranno decine nel corso degli anni) formano un gruppo a cui danno un nome composto dal nome di Fred "Sonic" Smith, membro degli MC5 e fondatore della Sonic's Rendezvous Band e futuro marito di Patti Smith, con quello del musicista reggae Big Youth, amato da Kim Gordon: nascono così i Sonic Youth. Dopo un primi ep, titolato Sonic Youth, nel 1983 pubblicano il primo disco, Confusion Is Sex, nel 1983: portano sul vinile il selvaggio modo di esibirsi nei locali, tra feedback come se non ci fosse altro effetto musicale, rumorismo preso dalla lezione di Branca, tessiture di chitarra stranianti frutto delle accordature del tutto personali degli strumenti, riff minimali e ripetitivi, in una congestione tra punk e avanguardia che li renderà unici, aggiungendo quel tocco rock decadente tra Velvet Underground, Stooges e MC5, tanto amati da Moore. Sono anche super combattivi e non la mandano a dire a nessuno, e il primo ad accorgersene fu il famoso critico Robert Christgau, che sul Village Voice definì il loro suono e quello di altre band emergenti Pigfuck, alchè la band dedicò la sanguinosa e niente affatto edulcorata una nuova versione di Kill Yr Idols in I Killed Christgau With My Big Fucking Dick, prima che i due si riappacificassero. Il primo grande disco è del 1985, Bad Moon Rising, che in alcune canzoni, come gli otto minuti fatali di I Love Her All The Time e soprattutto Death Valley '69, epocale, fanno capire che nessuno è uguale a loro. Moore ha l'abitudine di cambiare di continuo metodi di registrazioni, anche lo stile di produzione, e di cambiare con la stessa frequenza batteristi. Evol del 1986 li lega all'etichetta SST, e dopo un altro album grandioso, Sister, del 1987, si cimentano in un progetto alternativo, chiamato Ciccone Youth, dove rifanno pezzi storici di Madonna, Robert Palmer e parodiano l'hip hop, che in quegli anni stava salendo alla ribalta. E qui hanno un incontro particolare: Nick Sansano è un produttore hip hop, che li vede suonare. Non ha mai prodotto rock, ma si innamora così tanto del loro modo vivo e potente di esibirsi che accetta di produrre il loro lavoro, registrato ai Greene St. Recording, a SoHo, New York. Moore cambia stile di "progettazione" e con la band, che alla batteria stavolta ha Steve Shelley, inizia a suonare jam session improvvisando, carpendo di volta in volta le parti più interessanti. per la prima volta, hanno mezzi economici e tecnici per registrare più tempo, e nel mese che si prendono per farlo scrivono tantissime canzoni, che vanno a finire in un doppio album che, come accennato, è uno dei grandi dischi degli ultimi decenni: Daydream Nation (1988).

È un disco densissimo di stili, significati, idee, e basta la copertina, un rifacimento con una candela reale del famoso quadro Kerze di Gerhard Richter, per capire che è un disco di fattura ideologica potentissima. È un disco che sperimenta ogni cosa, dal pop di Kissability alla potenza dei brani iniziali, le ormi leggendarie Teenage Riot (It's time to go 'round\A one man showdown teach us how to fail\We're off the streets now\And back on the road on the riot trail) e Silver Rocket. Le voci di Moore e Gordon si alternano ai brani, Kim è fantastica e intensa in Cross The Breeze, ma alterna altri registri vocali ed interpretativi, per una prova super dove si pone persino ironica in The Sprawl. Lee Ranaldo e la sua chitarra non sono mai stati così visionari come in Eric’s Trip che prende ispirazione dal monologo di Eric Emerson nel film Chelsea Girls di Andy Warhol e Hey Joni, un omaggio alla loro maniera fantasiosa di Hey Joe di hendrixiana memoria ma dedicata a Joni Mitchell e che nel testo allude al leggendario Neuromancer di William Gibson, il libro cult del cyberpunk. Un messaggio vocale con voce stentorea di Mike Watt dei Minutemen compariva quasi dal nulla in Providence con in sottofondo il piano suonato da Thurston Moore, assolo di piano registrato a casa di sua madre usando un walkman, il suono di un amplificatore Peavey Roadmaster surriscaldato e un paio dei suddetti messaggi telefonici lasciati da Mike Watt, che chiamava Moore da un telefono pubblico di Providence, Rhode Island, doppiati l'uno sull'altro. The Wonder si ispira ad una lavoro dello scrittore James Ellroy, maestro della crime fiction. Sul disco, in omaggio (o sberleffo) ai Led Zeppelin del mitico IV, ogni componente della band ha un simbolo che lo contraddistingue. Il disco è un'ovazione di critica e pubblico sin dall'uscita, e campeggia nelle prime posizioni dei dischi migliori dell'anno 1988. A distanza di anni, è unanimemente considerato il punto più alto del rock indipendente americano. Subito dopo, firmano con la Geffen, e come succede sempre, vengono accusati di altro tradimento dai fan della prima ora. Ma questa è un'altra storia, che nulla toglie alla bellezza e all'importanza storica di questo album capolavoro.

[kontrollszumma]

Ma azt játszottuk a munkatársaimmal, hogy valaki beküldött a közös chat-re egy ismert magyar költő valamelyik versének angol műfordítását (semmi chatgpt!) és a többieknek ki kell találni ki volt a költő. Ez amúgy egyrészt elég szórakoztató volt, másrészt innen tudtam meg hogy a József Attila Születésnapra c. versének az egyik fordításában a "csecse // becse" részt valaki (Michael Castro) "titty // ditty"-nek fordította, amin valószínűleg a szükségesnek jobban nevetek :D No de itt a teljes fordítás mindenkinek aki szereti: For My Birthday

Thirty-two I have turned today – this poem by surprise came my way titty ditty:

the ultimate gift, with which at this cafe I astonish myself myself;

my thirty-two years have been scattered two-hundred a month I've never bettered. It's a trend my homeland!

I could've become a schoolmaster instead of a fountainpen jester. needy weeny.

But I've gotten expelled, riot act read at the university in Szeged mean dean.

His decision reached me fast and coarse, my "no father" verse got his curse, he guarded the home hard

with drawn swords' scowls he has summoned my soul's flame and name:

"You, as long as I have a word, won't be teaching in this world" mutters and sputters

If that's Mr. Antal Horger's pleasure that our poet shall not study grammar a light delight,

'cause it's beyond a high school education I'll be teaching the whole nation watch me you'll see!

[beardedmrbean]

Harrowing footage appears to show Russian forces torturing suspects in the Moscow concert hall terror attack — with one fed his own ear and another writhing in agony from electric shocks to his genitals.

Footage circulated online appears to show members of the security forces cutting off the ear of one of the suspects in the attack that killed more than 130 people — and then stuffing it in his mouth, according to the Guardian.

One of the suspects was later seen in court with a huge bandage covering his ear area.

Another appears to show security forces beating suspects with rifle butts and kicking one as he lay in the snow.

Photographs posted on Telegram also appeared to show one of the suspected terrorists with his pants down and a wire attached to his groin area, Ukrainska Pravda reports.

The wire delivered 80 volts of electricity to the man’s groin area as water was poured on the suspect’s head to intensify the effects, according to a description provided by the Grey Zone Telegram Channel.

Some of the suspects were later seen in a Russian court Sunday showing clear signs of injury, including swollen faces and cuts and bruises.

One suspect, Mukhammadsobir Faizov, 19, was even brought into the courthouse in a wheelchair and seemed barely conscious throughout the entire proceeding.

He was attended by medics in court, where he wore a hospital gown and pants, and was seen with multiple cuts.

Another, Saidakrami Rachabalizoda, 30, was seen with a bandage around his ear, while a third entered the courthouse with a blindfold — and when authorities took off the blindfold, a black eye was clearly visible.

A court statement said Rachabalizoda and another suspect, Dalerdzhon Mirzoyev, 32, pleaded guilty to participating in the terrorist attack.

Rachabalizoda, Mirzoyev, Faizov and Shamsidin Fariduni, 25, were arrested in connection with the terrorist attack on Saturday and were charged with committing a group terrorist attack resulting in the deaths of others, according to the Guardian.

They were caught in the southern Bryansk region, where authorities said they disabled their vehicle and then apprehended the suspects as they fled into a nearby forest.

Seven others were also detained on suspicion of involvement in the attack, Russian President Vladimir Putin announced over the weekend.

ISIS took responsibility for the attack, sharing video showing gunmen in military uniforms shooting screaming civilians with automatic weapons as others ducked for cover at the Crocus City Hall, where Russian rock band Picnic was about to take the stage for a sold-out show.

Putin tried to blame Ukraine, which furiously denied any involvement — while many experts believe it may have been a false-flag operation ordered by the Russian leader to justify his own ongoing violence.

Other footage shows the men firing at concertgoers at point-blank range below the venue’s entrance sign as bloodied bodies lay motionless on the ground.

Russian media reports said the assailants threw explosives, triggering a massive blaze at the hall. Video later showed flames and black smoke light up the night sky as scores of ambulances, fire trucks and riot police flocked to the chaotic scene. 

The suspects, all of whom are citizens of Tajikistan, face a maximum sentence of life imprisonment.

They were ordered on Sunday to be held in pre-trial custody until May 22.

[sronti]

Been there done that, time to repeat it in a different country

Olyan 2005-től indult el Magyarországon egy csomó program, ami a "telepfelszámolásokat" és az iskolai "integrációt" (gyakorlatban inkább felületes deszegregációt) tűzte ki célul. Ezek jelentős feszültségeket keltettek a társadalomban miközben viszonylag kevés gyakorlati eredménnyel jártak. Együtt az internet terjedésével, a Fidesz médiaépítő tevékenységének beérésével, a gazdasági problémákkal és a baloldali kormányzat szembenésével mindenféle beágyazott rendszerek hatalmi központjaival végül előkészítették a NER hatalmi és kommunikációs bázisát a 2010-től következő legalább 10-15 évre.

A szegregáció megpiszkálása főleg Budapesten kívül óriási feszültségeket keltett, kicsiben feltűnt az amerikai Dél teljes válaszgyűjteménye, beleértve a cigányellenes terrorista támadásokat, a Wishről rendelt KuKluxKlant, white flight-ot, politikai obstrukciót, tényleg, szociológiai nézőpontból öröm volt nézni, minden más szempontból pedig leginkább egy lassított vonatkatasztrófára emlékeztetett. Ahogy az amerikai Délen, a reformkísérleteket visszarendeződés követte és a helyzet továbbra is reménytelen, de tartható.

Azért hozom ezt fel, mert volt itt ez a náci zavargás

Ami sok szempontból emlékeztet erre a 2005-2009-es időszakra Magyarországon. Itt a UK-ben is rettenetes a gazdasági helyzet és sorra kapjuk a rossz híreket, részben külső körülmények, részben rossz politikai döntések miatt, amik aztán előhoznak olyan strukturális problémákat, amikkel jobb időkben kevésbé kell foglalkozni, de ilyenkor nagyon könnyen elszabadulnak.

Természetesen a tory kormánynak esze ágában sincs megreformálni a menedékkérés rendszerét, vagy bármit, de egy ilyen alapvető társadalmi probléma, a lakhatási válság megakadályozza, hogy a prosperálóbb városokban telepedjenek le a UK-ben menedéket kérők, vagy akár a bevándorlók.

Ezeken a prosperálóbb helyeken van munka, lehet vállalkozni és alapvetően megférnek egymással az emberek, mert a nagy többség megszokta, hogy mindenféle kultúrával találkozik és ebből inkább előnyei vannak.

De mi van akkor, ha olyan közösségekbe küldenek menedékkérőket és oda vonzza az olcsó ingatlanár a bevándorlókat, amik a nagyvárosoknál jóval zártabb közösségeket alkotnak, a lehetőségek pedig korántsem tűnnek végtelennek, hanem inkább stagnálás van és céltalanság?

Közvetett bizonyíték van arra, hogy a külföldi származásúak magasabb aránya ugyan inkább a toleranciát növeli, viszont az arányok eltolódása és a kisebbségek arányának gyors növekedése egyáltalán nem tesz jót az elfogadásnak.

A magyar példa alapján a kormányzat vagy nem tudja, vagy nem akarja tudomásul venni, hogy milyen következményei lesznek ezeknek a kitelepítéseknek, de ha azt hiszik, hogy ezt a problémát csak be lehet fogni a kampányvitorlába és behajózni a választási győzelmekbe, akkor abból nagyon súlyos lesz az ébredés.

A Brexit mutatta merre tartanak ezek a folyamatok, de ez korántsem a vége a történetnek, ennél lehet sokkal rosszabb is és ha nem javul a lakhatási helyzet és nem találja ki valaki, hogy mit akar kezdeni az ország Peterboroughtól északra fekvő részével az egy olyan krízist hoz majd, amihez képest a Brexit csak egy gyenge tutorial pálya volt.

[algebraicvarietyshow]

rod dreher, a nemzetközi wokeizmus uralma elől budapestre menekülő konzervatív gondolkodó apjáról karácsony táján twitteren kiderült, hogy a ku klux klán tagja volt. dreher, aki maga is gyanította ezt, nem menti fel emiatt apját, és nem is az "apák és fiúk" téma miatt érdekes ez a szöveg, illetve azért se gondolnám, hogy bárki elítélheti, hogy szól jó szavakat az édesapjáról. az elég zavaros írás érdekesebb részei azok, amik a dél társadalmáról árulnak el valamit - amikor dreher felnőtt, és amilyen ez ma, és amire a "strukturális rasszizmus" kifejezést gondolom csak azért nem használja dreher, mert az túl woke-nak hangozna és akkor mi lenne az ideológiai szabadságharcával:

This might sound shocking to you, but it's true: for us Southern white kids, the only source for any narrative that ran counter to white supremacy was network television. It was really true. If it hadn't been for 1970s TV, the received narrative of our local culture would have remained unchallenged. Reflecting on this fact decades later taught me an important lesson. In 2012, not long after I moved back to my hometown, this time with my wife and kids, a local white friend shared with me a link to this 1964 article in Ebony magazine, about a black man, the Rev. Joseph Carter, who had managed to confound the racist obstacles set up to prevent him from registering to vote. It's a heroic story, but it ends with a white riot on the courthouse lawn after the Rev. Carter left the registrar of voters office.

All of this went down only three years before I was born, but I had never heard of any of it. Never. It was memory-holed. At the time, I lived just around the corner from the courthouse in the beautiful downtown district. Learning that the peaceful courthouse lawn had been the site of such ugliness was a shock to the system. I wondered at the time if my own father had been in that crowd. I had no doubt that a number of men I knew, men I had grown up respecting, had been there.

Here's the thing: I had to face the fact that had I been a young white man, born in that time and that place, chances are that I would have been there too, or at least sympathized with them from afar.

Why? Because where would I have learned any different narrative? My dad was born in 1934, and raised in an era in which radio and newspapers never, ever challenged the prevailing racist order. As we know, very few white Southern churches did. If you had been a white person who challenged the segregationist order, you would have put your life on the line, owing to the threat from terrorists like my father once was. It is excruciating to write that line, but if it's true, then it must be faced. Reading the Ebony story, and being compelled to imagine the circumstances under which I could have been seduced by that same evil, was chilling to me. Why? Because it revealed how very, very close to me -- historically, culturally, and even within my family -- that kind of mob evil was.

sajnos a szöveg más részeire a reflexió kevésbé jellemző, sőt áttér a "jobb nem bolygatni" toposzokhoz, időnként majdnem eljutva a "feketéknek is jobb volt így, vagy legalábbis voltak jó dolgok" elemekhez, miközben csúsztat a "progresszív baloldal" "faji/identitáspolitikájával" kapcsolatban:

Specifically, as much as I hated to admit it, my dad, who had grown up in rural Louisiana, and who had spent his career as the chief public health officer for our parish, knew more about actual existing black people and their culture than I did -- because he had lived among them all his life! For me, black people were mostly an abstraction.

[...]

I came to believe not too many years ago that there must have been an agreement -- conscious or not -- between white and black local leaders not to discuss what had happened. They had done this for the sake of making integration work. I don't know this for a fact, but I suspect this is what happened.

[...]

In the years that followed, I puzzled over how it was that my dad, with all his race prejudice, could more easily talk to black people than I could. He had a small farm before I was born. I puzzled over how he would cry telling the story of the love he and his old farmhand, Calvin McKnight, had for each other. I would hear about how he would go to town to bail black farmhands of his out when they had landed in jail for public drunkenness, and wonder: how does a white racist do that? At his retirement from the public health officer job decades ago, I couldn't avoid reflecting on the fact that the racist white man who was my father had done more practical good to bring water and sewerage to the homes of poor black people in our parish than nice race liberals like me ever would, despite holding all the correct liberal views of race.

[...]

Over and over I have condemned the Left for raising demons that it can't possibly understand -- this, by leaning heavily into frankly racist ideas of "whiteness," and dividing us on questions of race. The spiritual and moral genius of Martin Luther King Jr. came from his profoundly Christian refusal to deny the humanity of those who oppressed him and his people. It is a cruel irony of history that today, it is the progressive Left that has returned us to crude racial politics, condemning some for the color of their skin (thereby holding them responsible for the collective sins of their ancestors), and exalting others, giving them carte blanche (so to speak!) to hate freely those unlike themselves, and to give themselves a moral pass for their own failures. This is not going to end well. It's madness to believe that this can be managed absent a reign of terror.

sajnos még az eléggé problémás kulturális magyarázatokhoz is eljut:

Plus, black people and white people really were very different in terms of culture. What a shock it was to me to go to a rare evening assembly at school, when I was 13 and was then moved to the same building as high schoolers, and to see girls only a year or two older than me, whom I would see daily in the hallways at school, carrying their babies while their mothers doted on them. This was how local black culture was. It was also very, very strange to me, as a kid, to learn from black classmates in elementary schools that they had no fathers in the home. I eventually began to wonder to what extent the white taboo against "race mixing" was merely out of pure race hatred, and to what extent it was a form of protection against the sexual code that was destroying the black family.

ez az utolsó a fajkeveredéssel felvet sok kérdést, egyben jól illeszkedik mostani szállás- és munkaadói hozzáállásához: a fajkeveredéssel kapcsolatos aggodalmak nem a fajról szólnak, hanem a kultúráról, amit éppen véletlenül tisztán faji alapon határozunk meg, még ha ennek nincs is semmi alapja. és még egy dolgot felvet: dreher ír arról, ahogy küzdött apja bigottságával, hogy aztán később rájöjjön, az általa elképzelt "absztrakciókhoz" képest apja - még ha súlyosan előítéletes és bigott alapokon is, de - a valósággal szorosabb kapcsolatban van. dreher manapság jelenlegi választott otthonát hasonló absztrakciókon keresztül ismeri, pár konzervatív értelmiségi és néhány kormánypénzből kitömött thinktank prizmáján keresztül, egy elképzelt keresztény ország (ahol még a hagyományos értékek számítanak, és nem kell óvodásokon nemátalakító műtéteket végezni) mítoszán át. 2023-ban akár fordíthatna energiát arra is, hogy konkrétumokon keresztül is kapcsolatba kerüljön ezzel az országgal.

[familylightfox]

@reflections-of-mobius asked:

“Am I the only one out of all of us who doesn’t get floofier when certain criteria are met?” It was a random question- suddenly voiced as it struck the fox. Volt could enter his feral or monstrous states (both of which Node considered ‘extra floof’ modes), Bless became a werehog at night…and them?- Nadda. “…n’ no, I’m not countin’ shampoo.” They nuzzled between their two partners with a quiet groan. “…least fluffy…” A small pout formed on their muzzle. They weren’t genuinely concerned about it- more playfully disappointed.

While not exactly a statement that Volt was expecting, he had to chuckle at the soft grumbles from his partner that followed. There were still a few hours in the day left before the sunset, and so he considered things for a moment before slipping one arm around Node where they were sitting.

Of course, the arm hadn't remained its normal size.

Fur darkened and grew, or maybe that was just the muscles underneath it. The soft chuckle deepened ever so slightly as the hybrid shifted to be better positioned to scoop them up and draw them into the fluffy barrel chest.

"Guess this means I'll just have t' share some o' my fluff with ya."

[jeffreybernabe1]

Voltes V: Legacy (超電磁マシーン ボルテスＶ)

Voltes V vs Gardo (June 7, 2023)

GMA Network/Riot Inc. Post Production/Telesuccess Productions/ Toei Ltd.

[killyertelevision]

people have said it already but anyway before annoying people say anything annoying this pride month they should check their privilege and weird view of their own community by way of getting strapped to an electric chair and be forcibly quizzed on the stonewall riot the gay rights liberation movement marsha p johnson what poc and lesbians did for the cause and what cops did not do for the cause and why we have this month as our month in the first place and all of the sacrifices that were made for us to have our rights as we do now (which still suck but it’s an infinitely better situation than it was even 40-30 or 20 years ago). and if they get an answer wrong they get electrified with 45 million volts. but if they do ok then they can walk the streets again or whatever

[swampythesweetsketch]

plz tell me bizzaro jay is the most annoying brat in the universe

He is a riot, he is a bitch, he complains, he moans, he never shuts up, he will fuck your dad, your boyfriend, your brother, he gets his hair pulled and he thinks you're obsessed with him.

Volt is a sugar baby pillow princess with a built in tazer and will use it even on his sugar daddy (Onyx). He is the brattiest brat to ever open his mouth in Ninjago.

And he is possessive of his shit. Don't touch his bike, don't eat his food, don't look at him unless you want a nibble.

[13urningstars]

//OOC: You all asked for it (no one did)!! As an exclusive post for pride month, here is the extensive list of the pronouns + Orientations of ALL my tf ocs. Because i didn't make this list for nothing

Placed under a read more because GOODNESS is this list long. I even cut the dead for plot ones !!

SINGLE MUSE BLOGS

- Cherrybomb : She/They [Demigirl] + omnisexual/Polyamorous - Thalia : She/it [demigirl] + bisexual/polyamorous [ @thehumanhalf ] - 13.UG: ____ + ____[ @13ugz ] - Rainjet : She/Her + Ally [ @m0ther0fthestars ] And a hc'd non oc addition: - Miko : She/Her [She/It RID] + Closeted lesbian

AUTOBOTS - @bots4life

- Joyride : She/her + Demisexual - GEKS [secondary muse] : They/It [NB] + Questioning - Stellarnova : They/She [NB] + Demiromantic/Asexual - Burst [secondary muse] : No pronouns [NB use name only] + Aroace - Lensflaire : He/Him + Ally - Mic : It/Its + Aromantic/bisexual And also cherr's charges: - Vera : She/They [unlabelled] + Bisexual - Jennie : She/her + why does it matter she's NINE

DECEPTICONS - @concommand

- Flinchstorm : She/Her [MtF] + Aroace [Sex repulsed] - Gadget : She/They/It [NB] + Bisexual [ mech preference] - Malware : He/Him + Aroace [thinks sex is hilarious] - Sunshock : They/Them [NB] + Unsure - Ace : He/Him + Insists he's straight. Very much a bisexual man - Aerostrike : He/They/She [unlabelled] + Pansexual

ROGUES [Fan faction] - @therouguestm

- Mayday : She/Her + Bicurious [In a QPR with nightwing] - Nightwing : He/They [NB] + Aroace [In a QPR with mayday] Riot : He/him + In love with his wife [Ally] And of course their humans: - Farah : She/Her + Lesbian/Questioning asexual - Marienne : Doesnt care [NB] + Bisexual/Robot enjoyer

UNALINGED/NEUTRALS - @neutralcha0s

- Sparkshot : He/Him + Aroace [Yet runs a very succesful love advice hotline???] - Pursuit : She/He [Trans in what direction??] + Polyamorous/Panromantic/Asexual - Whipline : No preference [Femminine NB] + Bisexual Speacial addition of my botbots: - Honey : She/Her + Lesbian/ Asexual - Luna : She/They + panromantic/Asexual - Emma : They/Them + Asexual -Dragontale : He/Him + Panromantic/Asexual

EUKARIANS - @beastscfwar

- Prey : She/Her + Bisexual/Polyamorous [dating hissteria] - Silverslice : He/Him + Gay - Rampage : She/It/They [Femminine NB] + Omnisexual - Hissteria : She/Her + Lesbian [dating prey] - Lunnarray : They/Him [demiboy] + demisexual/Demiromantic

THE SANCTUARY - @lcstandfound

- Trailfire : He/Him + Bicurious - Volt : any [Genderfluid] + Demiromantic/Biromantic/Asexual - Beacon : She/Her + Lesbian - Hightop : He/They/It [Demiboy] + omnisexual The kids: - Ironstrike : Hey/They [Demiboy] + Gay - Starblaze : She/Her + Bicurious - Crater : He/Him + Ally - Nitrolane : She/Him [NB] + Why does it matter she's nine [thinks girls are pretty] - Onyx : All pronouns [unsure] + Why does it matter hes FIVE - The twins : Both he/him + Why does it matter their TWO

[diceriadelluntore]

Storia Di Musica #292 - The Jesus And Mary Chain, Psychocandy, 1985

La Scozia è patria di cose meravigliose: il single malt, il tweed, il mostro di Lochness e nella Glasgow enigmatica e pazza degli anni '80 di un duo di fratelli che mettono su una band che, nel modo apparentemente più facile del mondo, cambia in parte la storia del rock. William e Jim Reid sono dell'East Kilbride, la periferia desolata della città, ma sanno suonare di base la chitarra. Sono di poche parole, ma un giorno William, leggenda vuole mentre legge un annuncio sulla confezione del latte (usanza molto comune nei paesi anglosassoni) metta insieme, senza un motivo apparente, le parole Jesus, Mary e Chain: The Jesus And Mary Chain. Non c'è nessuna correlazione religiosa o ideologica, e dopo un po' di tentennamenti, riconoscono che suona bene e non ha nessun riferimento ad altre band. Poche settimane dopo trovano un batterista, Murray Dalglish e un bassista, Douglas Hart. Autoproducono il primo brano, Upside Down, che racchiude tutta la pazzia semplice ma destabilizzante della loro musica: pochi accordi semplicissimi, testi basici e spesso no-sense, ma costruiti su un muro di effetti di chitarra, tra fuzz, distorsioni, feedback che le rende stranianti ma straordinariamente affascinanti. E poi aggiungono le loro esibizioni: sin dai primi concerti, brevissimi (a volte un quarto d'ora appena) dove al pubblico, all'inizio poche decine di spettatori, viene sparata in faccia una montagna di suono distorto, a tratti disturbante, che copre le poche parole dei loro testi. A ciò si aggiunge lo spirito selvaggio dei fratelli Reid, che suonano spalle agli spettatori, e che spesso sfasciano gli strumenti a fine esibizione. Tutto questo rende i loro concerti i luoghi perfetti per una rissa, e a tal riguardo "memorabile" il loro concerto del il 15 marzo 1985, durante l'esibizione al North London Polytechnic, crisi fomentata anche dall'esibizione del gruppo precedente, i Meat Whiplash, i quali non contenti del "calore umano" degli spettatori lanciarono una bottiglia tra il pubblico: mentre salivano sul palco i nostri, la rissa era già cominciata, in un locale molto sovraffollato rispetto alla capienza ufficiale, con risultato finale che la strumentazioni del locale fu distrutta dagli esagitati, 4 feriti, 60 contusi, centinaia di denunce e la stampa che garrula scrisse che la band poteva cambiare nome in The Jesus And Mary Chain Riot. Prima di quella esibizioni, con il fiuto dell'esperto, erano già stati messi sotto contratto da Alan McGee, il fondatore dell'etichetta Creation, e specialista nel trovare nuovi talenti musicali. McGee nel 1984 ripubblica Upside Down, con b side Vegetable Man (una cover di Syd Barret) che va nella leggendaria classifica di John Peel sui 50 brani più interessanti dell'anno, la Festive Fifthy, al numero 37. I nostri di fatto inventano il noisy pop. Rivoltando un motivetto alla Ramones con sullo sfondo, come i leggendari muri sonori spectioriani, fischi artificiali, distorsioni, feedback. Psychocandy, nel 1985, prodotto dalla stessa band, ne è l'apoteosi. Una volta lessi, non ricordo più dove, che questo disco era una combinazione perfetta tra dolcezza e dolore, come se un miele all'inizio dolce dia emorragie ai padiglioni auricolari. Unendo in un mondo parallelo il punk, che già sembrava morto, con la musica industriale degli Einstürzende Neubauten, il pop più leggero, con la decadenza drammatica e la potenza dei Velvet Undergound e degli Stooges, il disco è una pietra miliare di 38 minuti.

Il disco sfoderò tre singoli: Never Understand, singolo dell'anno 1985 per il New Musical Express, che è la canzone definitiva su cosa si possa fare con i feedback; You Trip Me Up, con meraviglioso video musicale filmato nell'Algarve portoghese, è invece una cascata di distorsioni; Just Like Honey è l'archetipo della loro musica, una ballata conturbante (I'll be your plastic toy\For you\Eating up the scum\Is the hardest thing for\Me to do\Just like honey) con la seconda voce di Karen Parker, rimane una delle ballate degli anni '80, e fu usata con successo da Sofia Coppola nel finale di Lost In Translation, e successivamente in altri film, serie tv, pubblicità. Taste The Floor, le incredibili It's So Hard (dalle atmosfere Joy Division), In A Hole (apocalittica), la desolante Inside Me stridono quando si danno alle ballate pop, nelle splendide The Hardest Walk e nell'altrettanto magica Sowing Seeds oppure nel quasi omaggio alle canzoni-racconti di Lou Reed nella magica Cut Dead. Alla batteria, al posto di Dalglish, secondo la leggenda suonando in piedi come Mo Tucker dei VU, c'è Bobby Gillespie, affascinato dalla formula magica dei fratelli Reid, che però se ne andrà subito, a fondare un'altra perla della musica di quegli anni, i Primal Scream.

Ritorneranno, dopo la furia nichilista, nel 1987. con Darklands. Il rumore, che molti ascoltando Psychocandy pensavano fosse dovuto ad un vinile danneggiato, o alla puntina del giradischi difettosa, se ne è andato, e rimane l'atmosfera di pop decadente di base: il cambio è quasi storico, ma la classe dei fratelli rimane in acquerelli malinconici di cieli primaverili (April Skies), nella gioia quando piove che a Glasgow dovrebbe essere diffusa (Happy When It Rains, singolo di successo). Darklands va meglio in classifica di Psychocandy, che rimane nel cuore dei fan e sarà il seme da cui, qualche anno dopo, nascerà un altro fiore meraviglioso e rumoroso, lo shoegaze dei My Bloody Valentine di Kevin Shields (altra scoperta di McGee). Diventeranno entrambi un simbolo di una gioventù alienata e ribelle, che ne cantava miserie e splendori, in una sorta di tentativo di comunicare la dolcezza impacchettata nel filo spinato. Un disco da ascoltare per capire un periodo, e una parte di quello che succederà dopo.