#don’t promote ed just using popular tags | Explore Tumblr Posts and Blogs

peonybane · 4 years

Text

Peonybane’s Project Interest Check

So... I’ve had an idea.

With everything going on in the world, I think we all need a distraction and something that can focus on the good (I’m not trying to detract from the importance of everything going on-- but I know that for me and probably many others, I just need a reminder of the good in the world).

And that’s sort of what this project would entail.

It would be a collaboration/anthology that focuses on real, positive aspects of sex. This would be an 18+ anthology, so I would be checking people’s ages as well as the age of the idols people would be writing for.

Please read under the cut for more details because of the nature of this idea.

So what do I mean by positive aspects of sex? Lots of fan fiction is... very much a fantasy. And there is nothing wrong with that, I actually think that having those fantasies are healthy and necessary. BUT, I do know that there isn’t a lot of fan fiction that embraces/promotes healthy responses to real life things.

I think the best way I can explain it, is with examples.

I have FOD (female orgasm disorder), I wrote Frisky because I felt alone and broken in that I cannot orgasm, especially in that I’ve never seen a story that focuses on FOD let alone focus on it in a positive light.

A story that involves BDSM and a safe word is used. While I’ve never done BDSM, I can imagine that scenes do not always go according to plan. Even if both partners know the sub’s limits, that doesn’t that that one day, their limits are more fragile. Focusing on how it’s ok that they reached their limit and the aftercare involved with that.

Alternatively, the Dom needs to use the safe word. They thought they could do the scene, but something about it this one time makes it difficult for them, even if they are in control. Once again, it be focusing on the love and understanding in it.

Realistic orgasms. Sometimes, a guy is just so excited he cums too early. He tried. He really, really tried. But it just wasn’t happening. And that it’s ok. Maybe he eats her out afterwards to make it up to her. Maybe he fights through some overstimulation. Who knows?

Insecurities. I know from personal experience that there are things about my own body that make me uncomfortable and made me very nervous during sex. During sex, what would make you forget about your insecurities? What would make you feel sexy? This can be likewise applied to guys.

Healing. People go through traumatic things in life. And sometimes, we heal to be able to have sex again or we heal through sex. The focus would not be on the trauma (though it would need to be mentioned for context), but rather on the healing process. The focus is to feel safe and accepted.

Reader is diabetic and her blood sugar gets too low right in the middle of it. What happens? (I don’t know a lot about diabetes but I’ve been told an interesting story about my friend and when her blood sugar drops, soooo... possible?)

So I hope that the list above kinda gives you an idea of what I’m thinking for this project.

This project would definitely be less structured that my Christmas collab. It would just be more of a sign up (mostly so we can make sure the same idol is not being written for too often, I’ll explain below) and just posting before a certain date.

Because I want this to be as inclusive as possible (within reason, see next paragraph), so this would be open to any group, (boy groups, girl girls, co-ed groups). It can be f x m, m x m, f x f, multiple pairings, it just has to fall within the parameters of the project. I would just ask that shipping idols with each other be extremely limited (personal belief regarding shipping, I won’t get much into that unless its otherwise brought up).

All idols and reader/OC, must be over the age of 18. This is a hard rule, no matter what. Writers must also be over the age of 18.

And while I know that BTS is very popular, I want to try to have a greater variety. So, I would keep track of who is writing for who. I’d probably limit 2 stories per idol (maybe 3, but very unlikely) and would discuss with writers about writing for another idol if that idol is written for already once.

I know that the majority of kpop writers write just for BTS, so I think this would be a good opportunity to experiment and reach out with other groups.

Please reblog/comment/DM with interest. I haven’t put together a lot of the details yet, but if there is enough interest, I’ll definitely go a head and write up the project call!

- Peonybane

Tagging people who I think might be interested (off the top of my head, most are people I follow):

@ddaenggtan, @jinyoungsir, @mintedmango, @mintjoonlep, @ropeseok, @holyfluffly, @suga-kookiemonster, @prettywordsyouleft, @ithinkilikeit-reactions, @ahgaseda, @abangtanfangirl, @fortunexkookie

#bts #got7 #vixx #ateez #vav #dreamcatcher #twice #blackpink #stray kids #project call #project interest

9 notes · View notes

realityofana · 5 years

Text

the issue with "not pro just using tags"

Alright, this might be a long and possibly controversial one but someone did ask for me to make a post about it, and since it's definitely something I have Thoughts on, I have obliged.

Many people have used that tag and still continue to do so, because how else are you supposed to share your posts without expressing the fact that you're not pro ana? Except the issue is the fact that you're sharing your posts. You may not intend for others to develop an ED, and you certainly may not wish for it to happen, but the fact is that by purposely choosing to display harmful ED content, you are contributing to the problem.

I understand that some people need a place to let out their emotions and participate in a community to feel less alone, and that's okay. I used to have a public ED account a year or so back, and once I realized what I was doing, I quickly shut it down and made a private blog where I can reblog things that I want to keep for myself. It does not matter how many times you tag a post with "not pro", or "just for me", or make warning posts telling others this isn't a joke, you are still contributing to the problem.

When you reblog a thinspo imagine or a meanspo or anything of the sort, you are showing an already ill and misguided audience a post that will only serve to further trigger them. It does not matter if it's only for you, if it's public (and especially if you are tagging it with frequently searched tags), you are still exposing others to the content. This is dangerous, even if you don't mean it to be. Think about the thinspo, meanspo, etc. that you yourself see. Do you think the person you saw it from wants others to be sick? No, but you still saw that and it still worsened your mindset.

Many of these posts are full of blatant lies. We are sick, and when we post about our false illusions and share our toxic rules or guidelines or photos, we are only making each other more sick. I understand we need support. So please, reach out to others. Make accounts encouraging pure recovery, even if you're not in it yet. Don't drag other people down with you, reblog your posts on a private blog. Don't use popular tags. DM others who are in similar positions, I'm sure they need someone to talk to as well. Just please, don't tag dangerous or triggering posts with "not pro just using the tag", because just by using that tag, you are indeed, albeit inadvertedly, promoting your illness.

To the person who asked for this (or anyone, really) let me know if this wasn't what you intended or if you have other thoughts. I'm sorry if this makes any of you feel bad, know that you're not bad people, you're just suffering with a terrible illness. It's not too late to help others, be considerate and be careful.

#long text post #opinion

5 notes · View notes

oscopelabs · 5 years

Text

3D, Part 2: How 3D Peaked At Its Valley by Vadim Rizov

I didn’t expect to spend Thanksgiving Weekend 2018 watching ten 3D movies: marathon viewing is not my favorite experience in general, and I haven’t spent years longing to see, say, Friday the 13th Part III, in 35mm. But a friend was visiting, from Toronto, to take advantage of this opportunity, an impressive level of dedication that seemed like something to emulate, and it’s not like I had anything better to do, so I tagged along. Said friend, Blake Williams, is an experimental filmmaker and 3D expert, a subject to which he’s devoted years of graduate research and the bulk of his movies (see Prototype if it comes to a city near you!); if I was going to choose the arbitrary age of 32 to finally take 3D seriously, I couldn’t have a better Virgil to explain what I was seeing on a technical level. My thanks to him (for getting me out there) and to the Quad Cinema for being my holiday weekend host; it was probably the best possible use of my time.

The 10-movie slate was an abridged encore presentation of this 19-film program, which I now feel like a dink for missing. What’s interesting in both is the curatorial emphasis on films from 3D’s second, theoretically most disreputable wave—‘80s movies with little to zero critical respect or profile. Noel Murray considered a good chunk of these on this site a few years ago, watching the films flat at home, noting that when viewed this way, “the plane-breaking seems all the more superfluous. (It’s also easy to spot when these moments are about to happen, because the overall image gets murkier and blurrier.)” This presumes that if you can perceive the moments where a 3D film expands its depth of field for a comin’-at-ya moment and mentally reconstruct what that would look like, that’s basically the same experience as actually seeing these effects.

Blake’s argument, which I wrestled with all weekend, is that these movies do indeed often look terrible in 2D, but 3D literally makes them better. As it turns out, this is true surprisingly often. Granted, all concerned have to know what they’re doing, otherwise the results will still be indifferent: it turns out that Friday the 13th Part III sucks no matter how you watch it, and 3D’s not a complete cure-all. This was also demonstrated by my first movie, 1995’s barely released Run For Cover, the kind of grade-Z library filler you’d expect to see sometime around 2 am on a syndicated channel. This is, ostensibly, a thriller, in which a TV news cameraman foils a terrorist plot against NYC. It features a lot of talking, scenes of Bondian villains eating Chinese takeout while plotting and/or torturing our ostensible hero, some running (non-Tom Cruise speed levels), and one The Room-caliber sex scene. Anyone who’s spent too much time mindlessly staring at the least promising option on TV has seen many movies like these. The 3D helps a little: an underdressed TV station set takes on heightened diorama qualities, making it interesting to contemplate as an inadvertent installation—the archetypal TV command room, with the bare minimum necessary signifiers in place and zero detail otherwise—rather than simply a bare-bones set. But often the camera is placed nowhere in particular, and the resulting images are negligible; in the absence of dramatic conviction or technical skill, what’s left is never close enough to camp to come back out the other side as inadvertently worthwhile. I’m glad I saw it for the sheer novelty of cameos from Ed Koch, Al Sharpton and Guardian Angels founder Curtis Sliwa—all doing their usual talking points, but in 3D! But it’s the kind of film that’s more fun to tell people about than actually watch.

But infamous punchlines Jaws 3-D and Amityville 3-D have their virtues when viewed in 3D. The former, especially, seems to be the default punching bag whenever someone wants to make the case that 3D has, and always will be, nothing but a limited gimmick upselling worthless movies. It was poorly reviewed when it came out, but the public dug it enough to make it, domestically, the 15th highest-grossing film of 1983 (between Never Say Never Again and Scarface) and justify Jaws: The Revenge. Of course I was skeptical; why wouldn’t I be? But I was sucked in by the opening credits, in which the familiar handheld-underwater-cam-as-shark POV gave way to a severed arm floating before a green “ocean.” Maybe flat it looks simply ludicrous, but the image has a compellingly Lynchian quality, as if the limb were detached from one of Twin Peaks: The Return’s more disgusting corpses, its artifice heightened and literally foregrounded, the equally artificial background setting it into greater relief.

The film’s prominent SeaWorld product placement is, theoretically, ill-advised, especially in the post-Blackfish era; in practice, it’s extremely productive. The opening stretches have a lot of water-skiing; in deep 3D, the water-skiers serve as lines tracing depth towards and away from the camera over a body of water whose horizon line stretches back infinitely, producing a greater awareness of space. It reminded me of the early days of the short-lived super-widescreen format Cinerama, as described by John Belton in his academic history book Widescreen Cinema (recommended). The very first film in the format, This is Cinerama, was a travelogue whose stops included Cypress Gardens, Florida’s first commercial tourist theme park (the site is now a Legoland), which has very similar images of waterskiiers. Cinerama was, per the publicist copy Belton quotes from the period, about an experience, not a story: “Plot is replaced by audience envelopment […] the medium forces you to concentrate on something bigger than people, for it has a range of vision and sound that no other medium offers.” Cinerama promised to immerse viewers, as literalized in this delightful publicity image; Belton argues that “unlike 3-D and CinemaScope, which stressed the dramatic content of their story material and the radical new means of technology employed in production, Cinerama used a saturation advertising campaign in the newspapers and on radio to promote the ‘excitement aspects’ of the new medium.” There’s a connection here with the earliest days of silent cinema, short snippets (“actualities”) of reality, before it was decided that medium’s primary purpose was to tell a story. It didn’t have to be like that; in those opening stretches, Jaws 3-D’s lackadaisical narrative, which might play inertly on TV, recalls the 1890s, when shots of bodies of water were popular subjects. This is something I learned from a recent presentation by silent film scholar Bryony Dixon, and her reasoning makes sense. The way water moves is inherently hypnotic, and for early audiences assimilating their very first moving images, water imagery was a favorite subject. It’s only with a few years under its belt that film started making its drift towards narrative as default; inadvertently or not, Jaws 3-D is very pure in its initial presentation of water as a spectacular, non-narrative event.

If this seems like a lot of cultural and historical weight to bring to bear upon Jaws 3-D, note that it wasn’t even my favorite of the more-scorned offerings I saw that weekend, merely one that makes it easiest for me to articulate what I found compelling about the 3D immersion experience. I haven’t described the plot of Jaws 3-D at all, which is indeed perfunctory (though it was nice to learn where Deep Blue Sea cribbed a bunch of its production design from). I won’t try to rehabilitate Amityville 3-D at similar length: set aside the moronic ending and Tony Roberts’ leading turn as one of cinema’s most annoyingly waspish, unearnedly whiny divorcees, and what’s left is a surprisingly melancholy movie about the frustrations, and constant necessary repairs, of home ownership. There’s very little music and a surprising amount of silence. The most effective moment is simply Roberts going upstairs to the bathroom, where steam is hissing out for no apparent reason and he has to fix the plumbing. The camera’s planted in the hallway, not moving for any kind of emphasis as the back wall moves closer to Roberts; it doesn’t kill him and nothing comes of it, it’s just another problem to deal with (the walls, as it were, are settling), made more effective by awareness of how a space whose rules and boundaries seemed fixed is being altered, pushing air at you.

Watching a bunch of these in sequence, some clear lessons emerge: if you want to generate compelling depth by default, find an alleyway and block off the other half of the frame with a wall to present two different depths, or force protagonists to crawl through ducts or tubes. This is a good chunk of Silent Madness, a reasonably effective slasher film that, within the confines of its cheap sets and functional plotting, keeps the eye moving. It’s an unlikely candidate for a deep-dive New York Times Magazine article from the time period, which is well worth reading in full. It’s mostly about B-movies and the actresses trying to make their way up through them, though it does have this money quote from director Simon Nuchtern about why, for Bs, it’s not worth paying more for a good lead actress: “If I had 10,000 extra dollars, I’d put it into lights. Not one person is going to say, ‘Go see that movie because Lynn Redgrave is in it.’ But if we don’t have enough lights and that 3-D doesn’t pop right out at you, people are going to say, ‘Don’t see that movie because the 3-D stinks.’” Meanwhile, nobody appears to have been thinking that hard while making Friday the 13th: Part III, which contains precisely one striking image: a pan, street morning, as future teen lambs-to-the-slaughter exit their van and walk over to a friend’s house. A lens flare hits frame left, making what’s behind it briefly impossible to see: this portion of the frame is now sealed off under impermeable 2D, in contrast to the rest of the frame’s now far-more-tangible depth. The remainder of the movie makes it easy to imagine watching it on TV and clocking every obvious, poorly framed and blocked 3D effect, from spears being thrown at the camera to the inevitable yo-yo descending at the lens. (This is my least favorite 3D effect because it’s just too obvious and counterproductively makes me think of the Smothers Brothers.)

Friday the 13th was the biggest slog of the 3D weekend, and the one most clearly emulating 1981’s Comin’ at Ya! I am not going to argue for that movie, either, which is generally credited with kicking off the second 3D craze; it’s a sludgy spaghetti western that delivers exactly as its title promises, using a limited number of effects repeatedly before showing them all again in a cut-together montage at the end, lest you missed one in its first iteration. It’s exhausting and oddly joyless, but was successful enough to generate a follow-up from the same creative team. Star Tony Anthony and director Ferdinando Baldi (both veterans of second-tier spaghetti westerns) re-teamed for 1983’s Treasure of the Four Crowns, the movie which (two screenings in) rewired my brain a little and convinced me I should hang around all weekend. This is not a well-respected film, then or now: judging by IMDb user comments, most people who remember seeing it recall it playing endlessly on HBO in the ‘80s, where it did not impress them unless they were very young (and even then, perhaps not). Janet Maslin admitted to walking out on it in her review; then again, she did the same with Dawn of the Dead, and everyone loves that.

An unabashed Indiana Jones copy, Treasure begins strong with a lengthy opening sequence of tomb raider J.T. Striker (Anthony) dropping into a cave, where he’s promptly confronted not only with a bunch of traps but, for a long stretch, a small menagerie’s worth of owls, dogs, and other wildlife. There are a lot of animals, and why not? They’re fun to look at, and having them trotted out, one after another, is another link back to silent cinema; besides water, babies and animals were also popular subjects. The whole sequence ends with Striker running away from the castle above the cave, artifact retrieved, in slow-motion as Ennio Morricone’s score blares. There is, inevitably and nonsensically, a fireball that consumes the set; it unfolds luxuriously in detailed depth, the camera placed on a grassy knoll that gives us a nice angle to contemplate it looking upwards, a nearly abstract testament to the pleasures of gasoline-fueled imagery. Shortly thereafter, Striker is in some European city to sell his wares, and in every shot the camera is placed for maximum depth: in front of a small city park’s mini-waterfall, views of streets boxed in by sidewalks that narrow towards each other, each position calibrated to create a spectacular travelogue out of what’s a fairly mundane location. There’s an expository sequence where Striker and friends drop into a diner to ask about the whereabouts of another member of the crew they need to round up. Here, with the camera on one side of a bar encircling a center counter, there are something like six layers of cleanly articulated space, starting with a plant’s leaves right in front of the lens on the side, proceeding to the counter, center area, back counter, back tables and walls of the establishment. Again, the location is mundane; seeing it filleted in space so neatly is what makes it special.

The climax finally convinced me I was watching forgotten greatness. This is an elaborate heist sequence in which, of course, the floor cannot be touched, necessitating that the team perform all kinds of rappelling foolishness. At this point I thought, “the only way I could respect this movie more is if it spent 10 minutes watching them get from one side of the room to another in real time.” First, the team has to gear up, which basically means untangling a bunch of ropes—clearly not the most exciting activity. The camera is looking up, placed below a team member as they uncoil and then drop a rope towards the lens. This is a better-framed variant of the comin’-at-ya principle, but what made it exciting to me was the leisurely way it was done: no more whizzing spears, but a moment of procedural mundanity as exciting as any ostensible danger. Basic narrative film grammar is being upended here: if a rope being dropped is just as exciting as a big, fake rip-off boulder chasing our hero down the cave, then all the rules about what constitutes narrative are off—narrative and non-narrative elements have the exact same weight, and even the most mundane, A-to-B connective shot is a spectacular event.

This isn’t how narrative cinema is supposed to work, and certainly not what James Cameron’s conception of good 3D proposed. The movie keeps going, building to a bizarrely grim climax involving a lot of face-melting, scored by Morricone’s oddly beatific score, which seems serenely indifferent to the grotesqueness of the images it’s accompanying. (This is a recurring trait in the composer’s ‘80s work; the score for White Dog often seems to bear no relation to the footage it’s accompanying.) That would make the movie oneiric and weirdly compelling even on a flat TV, but everything preceding convinced me: 3D can be great because it’s 3D, not because it serves a story. I’ve spent the last decade getting more angry about the format than anything, but that was a misunderstanding. Treasure of the Four Crowns is, yes, probably very unexceptional seen flat; seen in all three dimensions, it’s a demonstration of how 3D can turn banal connective tissue and routine coverage into an event. The spectacle of 3D might never have been its potential to make elaborate CG landscapes more immersive, something I still haven’t personally been convinced of; as those 19 non-CG shots in Avatar showed (undermining Cameron’s own argument!), 3D’s renderings of the real, material world and objects have yet to be fully explored. 3D’s ability to link film back to its earliest days is refreshing, in the way that any rediscovery of forgotten parts of film language can be, while also encouraging thought about all the things narrative visual language hasn’t yet explored, as if 3D could take us forwards and backwards simultaneously. In any case, I’m now won over—ten years after Avatar, but better late than never.

9 notes · View notes

amapolaboy · 2 years

Text

#bonespa #don’t promote ed just using popular tags #male ed #malesp0 #malespa #malespiration #thinsinpiration #thinspo

1K notes · View notes

bisexualstokes-archive · 5 years

Note

Is it too personal or may I ask what the long story that got you back into George is?

honestly i could use this ask as a way to really sit back and reflect on what’s going on in my life so yeah here’s the story:

(warnings for depression, anxiety, suicidal thoughts)

so going way back to my junior year of high school, september 2009-may 2010, that was like…one of the happiest years of my life. I had some really great friends at the time, family life (from what i remember) was more or less going okay (although i remember my parents were pissing me off when i was in driver’s ed), i was getting out more, things changed in my youth group and over all it was just a great year?? and CSI?? Season 10?? was so good??

and then my senior year of high school started, I got into some shit with not just one, but TWO of my friends, one of which I was like..in love with, and I was getting scared because Things Were Changing and I had all this pressure on me to get a job, go to college, etc, etc. (I also did start a job in the summer between my junior and senior years and I had a crush at this job and our relationship got Complicated and we never did anything, I sort of pushed him away cause I thought I was too young to be with someone who was a couple years older than me, and I was just scared about it in general.) But I was still watching CSI. I still loved it. I still loved Nick Stokes/George Eads.

And then came my first year of college, again, still watching CSI, and I was trying–oh god I was trying so hard to keep my anxiety under control as everything was changing, I was in a brand new school where I knew like…nobody (well a few people here and there–I went to a popular community college in my vicinity so I did see a few people from high school) and again getting this pressure to succeed in college cause college just wasn’t a thing people did in my family–not until everyone began to realize how important it was (some of my cousins went back to school and got degrees and such)

and I was also trying to do my best to keep in touch with my friends, trying to mend the cracks in the two friends I had beef with, but another friend–who I had since seventh grade at that point–and I were getting closer and closer (she’s my absolute BEST friend at this point in my life tbh and uhm yeah I don’t know where I would be without her but I’ll get to that later)

and I was still watching CSI, still in love with nick, etc etc–but I was also getting into another obsession…Doctor Who

Sophmore year of college?? I think this is where depression was starting to get to me a bit.

I had absolutely NO idea what I wanted to with my life. Family still pressuring me to succeed, things were getting Complicated with that guy at work, I started another job–so I was working two jobs at one point in my life and going to school which is uh Fun. I can’t remember much but I do remember in general being a bit freaked out over having to change schools cause that was a New thing and I was not good with change (because of my anxiety)

SO then we come to my junior year of college, and so began my dangerous Apathy phase, where I didn’t give a shit that I was failing tests because I wasn’t studying because Doctor Who basically consumed my life. I didn’t care about myself–It’s such a little thing, but I stopped brushing my hair at one point and wasn’t taking care of my body the way I should have–I had never gone to the doctor since my high school days, so I never had regular check-ups

things at this point had ended with my first job and I’ve never seen or spoken to that one guy that I have Regrets with–to this day I wish we gave it a shot tbh, cause he seemed like a geuninely caring, nice guy? (not without his faults of course)

and also uh…I think this was the year I stopped having a regular period.

I’m talking like…I didn’t have a period for months, and I sure as hell wasn’t pregnant

I also stopped watching CSI, for many reasons, for the way GSR was being handled, for the way Nick was getting the promise of all these interesting storylines but NEVER DID and watching Nick/George obviously going through his own shit (cause he definitely gained weight in that season–and NO JUDGEMENT FROM ME TBH cause I’m, uh…technically classified as obese myself), and again, I was also SUUUPER obsessed with doctor who to the point where it was probably hindering my life

at some point in 2015 i did get my period again and was like “OH LOOK I’M ALL GOOD ON THAT FRONT” probably cause this is when I entered my first almost-relationship, a frequent customer at the store I used to work at asked me out and it didn’t work out in the end cause he was um…idk just Not For Me (and a gross ass kisser) but then after that one period, it disappeared again.

OH but in 2015, when CSI ended, I did watch the finale–Immortality even though I was SUPER pissed about Nick being gone (I did go back and watch just his final scene and cried like a baby) and then proceeded to rewatch grave danger for the first time in years at that point–I actually documented that on my blog here lol (and I did all of that instead of studying for a test that I failed the next day lmao)

so blah blah blah had tons of shit going on until 2016, which was possibly the lowest point of my life in terms of depression/anxiety, even though I had finally graduated college, I got a full time job (the same one I’m in now, three years later, very successful I might add–I just got promoted last year and I’m held in very high esteem by many of my superiors so it gets happy)

but in this full time job, I was moved to third shift for a few months, and was forced to work with this one woman who I like DESPISED–although not completely at the time, but to this day I really just can’t stand her (thankfully she quit lol)

so the third shift transition was rough enough, but at least I was into a new show–Person of Interest and I was having the Time of My Life with it but it really did start getting me to think about my depression and mental health, which up until that point I had been ignoring, despite that one friend I mentioned earlier having pointed out to me many times throughout 2015-2016 that I needed to go to therapy (and I just didn’t think it would work, I didn’t want to do it, my social anxiety was screaming FUCK NO the whole time)

also the trump election thing happened and uhm yeah there was that. Got into a LOT of heated discussions…and lost like ALL respect for my step-father (who you’ll still see me refer to as “dad” but i’m pointing out he’s my step father in this instance because I would be ashamed to be blood related to him)

and despite our uh, troubles, my dad did try to get me to watch Macgyver, telling me that “hey, nick stokes is in it!”

but my depressed dumbass was like “oh really? nice” AND THEN DIDN’T WATCH IT LIKE A FUCKING MORON

and on top of that, my house got INFESTED with mice and my parents did nothing outside of setting up mouse traps but it was getting to a point where we found like…five mice in a day and I was starting to see them in the daylight (which is a sign you have an INFESTATION) and ALL of my belongings were getting mouse shit and pee on them (my room is right next to the kitchen) and I ended up purging A LOT of things (including a binder of friendship from the one friend I had trouble with in senior year–which man that hurt to get rid of ((side note, you know what really fucking hurts the most about breaking away from that friend? we’ve known each other since pre-school and I mentioned in tags before about how we do still talk and shit and i am one of her wedding bridesmaids and shit but yeah…not like it used to be)))

and i was getting to a point where I honestly?? just wanted?? to die??

I would say it was like, late 2016 where I was even starting to think of scenarios where I could just…like…disappear? kill myself? I just did not want to exist anymore

2017 came along, fresh start, I kept telling myself. Still had mice in the mouse, but I was fully aware of my mental health issues at this point, and was starting to really listen to my friend more and more, really starting to consider going to therapy (especially now that i had health insurance)

(and also I was beginning to realize I have Feelings for this friend as well–although I gotta wonder if it’s actual romantic love and just not intense friendship cause we really are close friends but like…I could also see us as more? if she were open to it? but I know she doesn’t feel that way about girls and she’s got her own shit to deal with, and i respect that so I never push it or bring it up)

and then? twin peaks: the return came along. Season 3, episode 3, “Call for Help” a fucking masterpiece of an episode and something just…CLICKED in me. Something made me realize, I need to call for help

and so I did.

2017 was the year of therapy, in which I talked about a lot of the shit above, and then I stopped going in I think 2018? when the therapist moved away, but my sessions were getting farther and farther apart anyway, and I felt like I was finally in a better place in my life. I had more coping mechanisms, more awareness of how to handle myself, and I began to realize I really needed to take care of myself more

so i went to the doctor for the period thing, seems like it was some hormonal imbalance cause i was put on birth control to get my hormones back in order (this is my first month off of them so fingers crossed it still works) and by the time august/september rolled around?

I started writing again

and I’m not talking fan fiction, I suddenly had the inspiration to write this original story idea I have for a series that was HEAVILY inspired by CSI–in which the third book in the series is about a guy getting buried alive (and a girl trying to save him but doesn’t because ANGST but that’s another long ass story lol)

which, naturally, made me want to watch grave danger again, for the first time in three years. and then…I suddenly wanted to watch more csi?? from the very beginning??

and so I watched the first four episodes of season 1 again, and Nick/George was back in my life again. And it felt SO FREAKING GOOD.

Then, I watched Macgyver because I wanted to see new George content, and immediately fell in love with jack

Caught up with Macgyver and then finished my csi rewatch, this time watching all of season 13 (which I STILL HAVE MIXED FEELINGS OVER just like season 9) and 14-15 (which i regret not watching when it first aired cause it’s SO GOOD)

and I’m not saying like…Nick/Jack/George is the sole cause of my happiness, the cure for my depression/anxiety (cause that shit never goes away, you just learn to manage it better), nor is he the sole love of my life or anything, but…he’s a huge part of who I am, because in those years, when I was struggling, I lost myself. I lost Nick. But now I found myself again, I re-discovered my passion for Nick Stokes, and i’m just as happy as I was back in 2009/2010, and life is just so good

#aaaaaaand now i'm crying #just...fuck man #i may have gone into uh...TOO much detail here #but honestly maybe not even enough?#but yeah trust me when I say #i'm happy to have nick/jack/george in my life #cause you know that quote nick says about warrick #about warrick being a huge source of strength?#that's how nick is for me #personal #nonny #about me #2019 #reflections

5 notes · View notes

rachello344 · 6 years

Text

I’m going to tell you all a story. I don’t really know who all will see this, but I think it’s important for me to make my position and my history clear, so I’m going to write it out anyway. This will probably have some level of TMI, so your mileage may vary, but I don’t want to censor myself for this. Includes frank discussions of sexuality, sex ed, etc. so it’s relatively NSFW. Nothing especially graphic, but again, ymmv

This is... much longer than I meant it to be, so tl;dr: Fiction is meant to be a place to explore. Being afraid of sexuality or intimidated by it is normal, but trying to control the people around you because of that is not. The only person whose sexuality is your business is your own, and potentially your partner(s)’. Policing the sexuality of other people will not give you anything more than the illusion of control. Illusions, however nice, don’t generally last long. Be kind to others, and be kind to yourself.

I started reading fanfiction when I was 12 or 13, which I think is about the average. Everyone around me was starting to talk about dating and the like, and I wanted to figure out what they were talking about without asking anyone I knew. As an avid reader, the only way I knew how to get contextualized information was through stories. So I did what I think a lot of kids online inevitably do: I looked up stories about sex and romance. The site I was using at the time was DeviantART.

Any of you who have used the site are probably recoiling right now, as you should be. I have seen so many terrible things written in fiction from such a young age that a lot of the stuff people complain about here seem legitimately tame. But that’s not the point. The point is, I was a curious kid looking for answers, and I turned to stories to find them.

I started with original fiction. Imagine that. A 13 year old girl online reading effectively hentai-style fiction about OCs she had no connection with. I learned about my body through badly written dA hentai fic. I figured out things that felt good. I experimented quietly when my family left for my brother’s baseball games. And then, at some point, I found my first fanfiction.

I’d technically written fanfiction of Sonic characters when I was 8 or 9, but they were all just fairy tales with Sonic and Amy as the leads. I didn’t start with Sonic fanfiction, though. No, the first fanfiction I remember reading was Naruto. It was a badwrong Uchiha-cest fic. I was probably 13 at this point. I’d never watched Naruto, but I absolutely knew that those characters were related. Morbidly curious, reluctantly fascinated, I read the fic.

It was short, but it was definitely hot, to my 13 year old standards. I mean, most things were. I was 13. I didn’t exactly have standards. And then I realized: If this exists, shouldn’t there be stories with characters I actually know? Granted, I still read SasuNaruSasu fic because it was SO easy to find--I preferred Naruto topping at the time, but now I’d go back and forth, I think, I just hated the characterization of bottom!Naruto--but I also discovered slash for things I actually knew. Sonadow was a revelation.

It does not escape me that I got my start in fanfiction reading incest and furry porn, btw. I mentioned earlier that I was curious, and that was my driving force. I wanted to see where the limits were. I would read anything. And then once I figured out the tags, I could look for the things I liked and avoid the things I didn’t. I didn’t much care for a lot of things where romance was concerned, but for a PWP those limits evaporated like rain in the desert. And through this process, I developed standards. Things I will read, things I won’t, writing styles I prefer, things that I won’t read no matter how well written, writing unskilled enough that I wouldn’t touch it regardless of the kink depicted. And on and on and on.

I feel like it bears mentioning that the demographic of my junior high and high school was predominantly Mormon and Fundamentalist. Not all, but a significant number. We were mostly white, mostly well-off. I was in as much of a bubble as I could be. But that meant that until my friends started coming out in high school, I didn’t know any queer people IRL. I had one friend, Avery, who told me she was Bi in eighth grade, but until about tenth grade, she was the only one who’d told me.

Our sex ed was abstinence only. Heteronormative and absolutely the kind of thing that we all speak out against. There were no websites that I could find with reliable info. I was using google image searches to figure out what genitalia looked like, and I wish I were kidding. All I’d ever seen was stuff with diseases and sores. I was told that a girl who has a lot of sex is like an old pair of gym shoes. I was told that boys will be boys. I was not told that boys could love boys or girls could love girls. I was told “Just say no,” instead of any kind of way to tell when it was safe for me to say Yes.

Luckily I wasn’t interested in sex for me, personally. I was interested in it intellectually. I wanted to know how it worked, why people chose to do it, what it might feel like, what kinds of sex you could have. I was arming myself with knowledge in case I ever needed it.

When I was 15, I stumbled on a kinkster’s blog. She was a writer, and she specialized in BDSM practices and culture, specifically in explaining it to the uninitiated. I was too young to be there, but the information I got was invaluable. Again, scarleteen might have existed? But I’d certainly never found it. This was the first time I saw someone talking about consent, about condoms and dental dams, about safe words.

It was life changing. I read her blog avidly. I spent about three weeks there, researching BDSM. When I found something that seemed interesting, I’d return to deviantART to see if I could find it in story form. I’d google terms I wasn’t familiar with or cross check online. I googled so many things that it’s lucky that my parents let me have my own computer (an old desktop from my dad’s boss). It’s even luckier that my parents generally let me have free reign.

When I was 17, I found the word Asexual. It was the best word I’d seen for how I was feeling. Sex positive asexual. “It would be fine if it happened, but chastity isn’t exactly a punishment.” I could make do on my own without much trouble, and I didn’t really like any boys. Not like that. (Whether or not I ever liked girls, I’m still trying to puzzle out.)

What I’m trying to say is that my best online experiences were via kinksters. Fic at the time did NOT go into safer sex details. They were either implied, glossed over, or outright ignored. Fantasy doesn’t need to jive with reality, so it’s hardly wrong of them to ignore it. But that information was truly incredible to me.

And I know I’m an odd case. Someone who’d never felt sexual attraction to her knowledge researching every kind of sex under the sun sounds strange, I know. But I’ve always been a researcher. When I come across something I don’t understand, I look it up.

I guess, the point I was trying to make is that... for me, without all the “bad” erotica and porn, without kinksters, without slash ships, I never would have figured things out for myself. I had no sexual education to speak of, no context for anything I did no, no one to talk to, and I definitely didn’t have any queer role models or examples in media or in my real life. The first time I met a lesbian was when I was 13; she was my gym teacher. And she was the absolute first queer person I ever knew about. And until college, I’d never met another queer adult that I knew of. Never.

We had a gay straight alliance in high school, but I didn’t want to get involved. The cultural climate wasn’t outright homophobic, but I’d learned to keep my head down for being “too much” a feminist. Like hell was I going to put a target on my back. I doubt I would have been bullied--no one had come after me yet--but I didn’t really want to tempt fate either. I stood up for the people around me, and I called it good.

When I hear people say “Kink is unhealthy and glorifies abuse” I think back on my sex ed, on learning that women who sleep around are dirty. I think about the first time I ever even heard about consent being on a blog about a woman who loved BDSM. When I hear people say “X fic trope condones Y behavior” I think back on the absolute sewage that I was reading as a young teen. It’s safe to say that I’ve read just about every kink there is. I read vore on accident by the time I was 15. And I didn’t even remember it until I had a visceral flashback to it about a year ago when the jokes first started getting popular. And despite all of the abuse and rape and badwrong incestuous fic that I’ve read, never once have I knowingly harmed another person. And that makes the arguments feel a little odd. Like “violent video games make teens more violent,” the argument that violent erotica and porn makes teens more violent is absurd.

So, for those of you still reading, if you promote anti-shipping or kink critical anything, I think you should look at it a little more closely. Do some more reading on the other side, within your limits. Do your own research and figure out where you stand. I know that sex can be intimidating and scary, especially when you’re young, but something can be scary without being harmful. Only you know your limits, but there are plenty of places to do research that have reliable information. I’d be happy to help you find them. For general sex ed, scarleteen is definitely my go-to.

Policing other people’s sexualities is not the way to make things feel safe again. I know it seems like a suitable answer, and it makes you feel like you have power and safety, but think about how you feel when people tell you what you are and aren’t allowed to like or do or feel. Think about how you feel when people accuse you of all kinds of things simply because your views are different. That’s what anti-culture is doing. And just because you don’t agree with someone doesn’t mean you have the right to tell them how to feel or how to think. Because that opens the door to them returning the favor.

“But incest--” “But CGL--” “But--” No. It doesn’t matter. If you know it isn’t for you, then avoid it. That’s the end of it. Do I think some things are weird or even kinda gross? Sure. But that doesn’t mean no one is allowed to like those things. If that was the case, no one would be allowed to write fic where people have sex in a kitchen or otherwise involve food in the process. That squicks me out, but that doesn’t mean people don’t want to get off to it. I avoid the tag and move on. Don’t waste your time on things you don’t like. Period.

Life is too short to waste your time on things that turn you off. That’s time better spent finding the things that turn you on. And hey, tastes change. Maybe someday I’ll decide I want to read people having sticky food sex (doubtful). Maybe someday I’ll decide that I cannot read another tentacle fic ever again (unlikely). I won’t know until that day does (or doesn’t) come. But I’m not gonna waste energy worrying about what other people think about my fantasies. They’re no one’s business but my own, and theoretically a future sex partner should I find one.

Fiction is for exploration, so explore! Find ways to keep yourself safe. Figure out what you need to avoid, and how to do it. Find the things you want to read and read them. Consume the media you want to consume. And if anyone bullies you for it or tries to make you feel bad, you block their ass on sight. They don’t deserve even a second more of your time.

#personal #rachel writes #if anyone wants to talk about this I'd be fine with that #but if you want to come over and shame me for how I figured myself out you can show yourself out #it just really burns me up seeing kink critical people coming after people for doing things they enjoy #the sex and fantasy lives of other people are none of your business #i'm not gonna go into the gray areas here because I'm not a lawyer and I don't want to get into it on what amounts to a vent post #so i'll leave off with 'don't break just laws' and call it good #above all else be kind #tbh i might delete this at some point but right now i'm feeling brave #mostly because i'm annoyed about purity culture tbh #deviantart was a dumpster fire but damn if i had a shame free place to figure out what things were #people on this hellsite are so uptight i feel like i'm back in high school #it's the Worst #I just wanna like my weird shit in peace

13 notes · View notes

wolffyluna · 5 years

Text

I was tagged by @chocochipbiscuit

This little tag meme is an opportunity for writers to reflect on (and promote!) our own writing, but also to hear about the work of our fellow writers and to find something new to read!

Rules: answer the following questions about your own writing, whether fanfic or original. If you can’t/don’t want to answer a question, just put N/A. If you don’t have that many posted works, tell us about your WIPs or individual chapters/drabbles or even your ideas! Then tag as many writers as you like :)

AO3 name and link, if applicable: WolffyLuna

What’s your most popular fic, by whatever metric is most relevant to you (hits, kudos, comments, reblogs, some other trait)?

My most popular fic by kudos is... ‘The Heat Talking’. Which isn’t overly suprising. It’s a) smut, b) for a popular fandom and b)for a kink meme. It was bound to get more exposure than most of my fic.

(I’ll admit to being a little annoyed that my most popular work isn’t one of the ones I worked particularly hard on, or from a fandom I am currently in, but c’est la vie. I’m not unhappy that people liked my fic)

What’s your favorite fic that you’ve written?

Oooh, this is hard. I normally don’t think of my fics in terms of favourites. I‘ll admit a deep affection for ‘Curiosity (Didn’t) Kill the Cat’ even if it’s not my best work overall. I’d only just got back into the groove of writing ‘larger’ fics at that point, and it was nice to write something relatively chunky. (And it’s pre-femslash that isn’t pure fluff!)

What’s your best fic, and is it different from your favorite fic?

I have no clue how I’d judge the quality of my fic. At all. Assuming I’ve been going linearly up in quality, it’s probably ‘To Shine On All’ or ‘Whiskey in the Jar.’ Additionally, those are both fics I wrote after I realised that I could have themes in my work, yes, I was allowed to do that, it wasn’t just a thing for fancy authors.

Do you have a fic whose popularity surprised you?

‘Always Neater in Morality Plays’ is definitely my most controversial fic. And not without good reason! It’s all about an AU where popular (and canonically gay) character dies in their backstory -- and not off screen, either. The death is the main event! While I got no hate for writing it, a popular blogger made an unsubtle vagueblog about... and forgot to check if the author followed them (Yeah, still bitter about that.)

But despite that, it’s one of my most kudos-ed fics, and my most kudos-ed non-Overwatch fic. I’m slightly surprised that so many other people wanted to read a graphic portrayal of someone dying by arsenic poisoning.

Do you have a fic you wish more people would read?

Look, I know it’s new, and it’s for a rarepair, it centres an oc, and it isn’t happy fuzzy-wuzzy fluff, but I keep wanting to run up and shout ‘read Whiskey in the Jar! It’s good! You’ll like it! Hawke is terrible!’

So, uh, yeah. Whiskey in the Jar is that fic.

Is there a ship or fandom you haven’t written, but really want to?

Celebrimbor*/Sauron, the ship that makes you say ‘wait, no, it makes sense in context!’ But I really like that ship, and I have a seed of an idea (’What if instead of Celebrimbor being all chipper and helpful, he’s somewhat jealous of disguised!Sauron, and it’s kinda a rivals-to-lovers-to-mortal-enemies thing)-- but no plot yet. When I’ve got a plot, it’ll definitely be written.

I also want to write some Age of Sigmar fic. AoS is fun setting, and it’ll be fun to play around in it. (And there are female characters, who can plausibly be in the same place as eachother at the same time, and are thus shippable-- I just gotta get a handle on their characterisations).

*The guy who made the three elven rings.

Tell us a random fact about your writing process:

Once upon a time, I thought I was pantser. And also an incredibly slow writer.

And now I have discovered that no, I am a plotter. Nope, even more of a plotter than that. (I have a fic that is currently 26 pages of outline. I haven’t finished outlining it yet. It’s on it’s third outline.)

I’m tagging @diseonfire and @sisterofsilence (though don’t feel obligated) And if anyone else wants to join in this, feel free!

#premium original content #memes

1 note · View note

theoriesontheory · 3 years

Text

Hyperpop - a folk tradition for the 21st Century

Note for SAE: This blog was written for assessment based on the module guide instructions, not the formal instructions as discussed with Toby Wren

“Folk music is any style of music which represents a community and can be sung or played by people who may or may not be trained musicians, using the instruments available to them.” (Ruehl, 2019)

“This is popular culture as folk culture: a culture of the people for the people.” (Storey, 2014)

If you played the word association game with one-hundred fans of music and gave them the words “folk” and “hyperpop” respectively I think you would be hard pressed to find anyone who would associate one with the other immediately. In the 20th and 21st century folk became a term used to describe any mainstream music that wasn’t rock or later ‘pop’. In play lists now it is often coupled with the words “indie” or “acoustic” or “chilled”. But the roots of the folk tradition lie in music that was popular because it was shareable, it was a group experience that was easy to participate in.We see that folk music is still popular now with the sea shanty trend becoming a massive thing on tik tok.

youtube

With so many people spending more time on the internet for entertainment, information and communication there has been a rise of ‘sub-cultures’ or new communities bonded by shared experience, taste or interest. (Bennet, 2014) It is from these emerging communities that hyperpop grows and develops as folk sound of a generation. Hyperpop as a genre has its roots in the soundcloud community, being used as a term in the nightcore remix scene. (Enis, 2020) One of the things that makes hyperpop so unique is that while it serves as a genre tag, what that tag can mean is extraordinarily broad. In an interview one half of hyperpop taste makers 100gecs said that for them, certain Brittany Spears songs could go on a Hyperpop playlist. (Patel, 2020) In the same interview the interviewer described hyperpop as a stacking of multiple genres at their peak, extremely relatable, nostalgic and hooky. (ibid.)

I think the strongest thing that ties hyperpop to the folk tradition is it’s use of popular culture references in its production. Looking at a list of samples used by 100gecs (whosampled, n.d.) there are so many well known elements like minecraft sounds, Drake songs, Alt rock from the mid 2000s, a funk and soul instrumental from the 60s, anime sounds, the list of references covers all parts of pop culture in a way that is so reflective of the ‘gen z’/‘zoomer’ mentality. Now with unprecedented access to media from throughout space and time the current internet culture is a global one with references from as early as recorded media and as recent as when you are reading this. Additionally, with the internet and forums and message boards dedicated to the collection and distribution of samples and sounds, any producer with a DAW, a couple hours on YouTube and an idea could take the same samples and use them in a completely different way, using the same elements to express a completely new and unique perspective.

Underlying this is another element of the folk tradition that works to hold the music together, that is the recognisable form. While in the folk tradition songs were structured around easy to remember lyrics, stories and simple melodies and were typically short and repeatable (Nettl, 2007) the way we consume music has changed. Since 1949 and the birth of the 45 for music to be playable on the radio it needs to be around three and a half minuets long (McKinney, 2015) and will probably be in verse chorus form, with a catchy chorus that will be rememberable. (Bell, n.d.). Within these forms there are many other features we come to expect from pop music, a standard kick on the 1 and 3, snare on the 2 and 4, predominantly major tonalities and harmonically diatonic, although this is becoming less common. So, while hyperpop is a combination of many sounds, those sounds are organised and recognisable and fit in a form that we understand.

Another element that places the genre firmly in the folk tradition is that it is a real expression. This conclusion is based on the definition of folk music being made by and for the people. (Storey, 2014) My initial response to the genre when I discovered it through memes was to write it off. As a ‘smart musician’ I looked down on it because I thought it was like just eating cake not a balanced diet. I was living with the self-imposed idea that making art had to be hard and complex and that using extended harmony and using incredible metaphors made me better than other musicians. I was wrong for so many reasons. Firstly, when I approached the genre with no social or class based bias, I began to understand. Just because something is the obvious choice doesn’t mean it’s the wrong one. Pop music is popular for a reason, particularly music that is made with the intention of dancing or partying there are rhythms and patterns that are tried and true. And second, I discovered that underneath all the ‘hyper’ tonality were real stories and emotions and experiences that felt so real and human in contrast to their setting. Hyperpop being such a broad umbrella means that it is the place where people who don’t fit neatly into other genres or scenes can feel connected. When asked what they view their role as leaders of the genre was 100gecs replied with promoting accessibility within the genre, for people who are underappreciated but making the music they like to have and audience and a community. (Patel, 2020) In my listening to hyperpop playlists and artists recommended to my by my friends I have heard songs on topics ranging from love, heartbreak, feeling great about yourself, hating yourself, being high, being sober, loving both of those things, making food, walking a dog, being angry at someone. If there is an experience to be expressed, you can express it in hyperpop.

Side note: I think that the use of autotune and heavy vocal distortions lowers the barrier to entry, now artists can use their voice as an instrument when in the traditional way of thinking about singing they weren’t deemed ‘good enough’

In the same way there are no real rules to sing a folk song in a pub or with your family, there are no real rules about writing hyperpop, the music can be coupled with every emotion and serves to take it to the extreme.

The last tie that holds hyperpop in the folk tradition is the way it is spread. While folk would traditionally be passed from family member to family member or friend to friend, often learned through doing. Hyperpop found it’s rise in meme culture of the internet. 100gecs gained most of their mainstream notoriety through being shared in a facebook music meme group, where internet reviewer and indie taste setter Anthony Fantano found them and gave them a review on his channel leading to millions of people discovering the music. Beyond this, the band’s image is incredibly well tailored to the zoomer, ‘possitive nihilistic’, ‘nothing matters lets party’ mentality, presenting as both over and underproduced, low-fi, oversaturated and almost intentionally bad. This makes it captivating and almost funny to audiences. The band have spoken against this, saying they’re not trying to be ironic but rather just having fun (Mylrea, 2020). But whether or not the easily memeable nature of the music is intentional or not, it is undeniable to say that it means the music is spread and heard on a much wider basis than it would have otherwise.

Hyperpop will probably never be widely called ‘folk music’ but I think that there are enough similarities that the argument is there to be made. Hyperpop as a genre shares its use of recognisable elements from the new ‘internet culture’ that are controlled in a recognisable form, its use of real and relatable expression and the way it is spread through our new community meeting places with the traditional folk tradition, making it the latest in a long list of music sub-genres to be for the people, from the people.

References:

Bell, E. (n.d.). Anatomy of a Song: The Three Most Common Song Forms. Musical-U. https://www.musical-u.com/learn/anatomy-of-a-song-the-three-most-common-song-forms/

Bennet, A. (2014). Youth Culture and the Internet: A subcultural or post-subcultural phenomena? In W. Osgerby (Ed.), Subcultures, Popular Music and Social Change. Cambridge Scholars. https://ebookcentral.proquest.com/lib/sae/reader.action?docID=1790933

Nettl, B. (2020, December 3). Folk music. Encyclopedia Britannica. https://www.britannica.com/art/folk-music

McKinney, K. (2015, Jan 30). A hit song is usually 3 to 5 minuets long. Here’s why. Vox. https://www.vox.com/2014/8/18/6003271/why-are-songs-3-minutes-long

Mylrea, H. (2020, July 10). 100 Gecs: “People think we’ve staked our entire career on the fact that we can be ironic”. NME. https://www.nme.com/en_au/features/music-interviews/100-gecs-interview-1000-gecs-and-the-tree-of-clues-charli-xcx-pc-music-minecraft-2706029

Patel, P. (Interviewer). (2020, November). Pitchfork Review: 100 Gecs and the Mystery of Hyperpop. [Audio Podcast]. Get Wired. https://open.spotify.com/episode/1UnB4gNxTsInfjur0iVXEP?si=NXGfknGtTqSId4z-XhKNeg&dl_branch=1

Ruehl, K. (2019, Febuary 13). What Exactly is Folk Music? Banjos, Jugbands and More. liveaboutdotcom. https://www.liveabout.com/what-is-folk-music-1322534

#Critical Theories #hyperop #100gecs #academic writing #CIM402.1

1 note · View note