Ultima
  • Ultima
  • M4STER OF DEATH
  • THE ADVENTURES OF SKULL KID
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I’ll CREATE YOUR FEAR. 💀 

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10

Spider-Girl #81

I finally read the back up story from ASM V3 #8 in it’s entirety.

And believe me I have quite a bit to say about it, but for now I want to address one thing.

I’ve seen some people comment that they’re okay with the deaths of May’s parents because it ‘serves a storytelling purpose’. And that may well prove to be true. 

But that that story as of right now seems to be incredibly short sighted and that purpose is a detrimental one.

The above images are from one of the best standalone Spider-Girl issues ever, and there were plenty to choose from. 

Read those pages.

Now tell me if you could tell anything even resembling that story in the wake of what’s happened.

Now tell me in all honesty that we’re better off with May’s father dead. 

Tell me the purpose and story we’ve killed him for is worth that sacrifice.

Without Peter and Mary Jane in the narrative, Spider-Girl is not the same.

Without them there Spider-Girl is not as good.

Without them there you’ve destroyed the heart of the character/series.

At which point you might as well not be writing about Spider-Girl anymore.

P.S. I still maintain this is the best Electro story ever.

\0/ \0/ \0/ \0/ \0/ \0/ \0/ \0/ \0/ \0/ \0/ \0/ \0/ Free Download: on.fb.me/1qK7aFr

Tracks used:
Dillon Francis & Martin Garrix - Set Me Free
Michael Jackson - Thriller (Scooter’s Big Room Bootleg)
Eric Prydz vs. Michael Jackson - Thriller Education (Richard Grey Mashup)

Artwork by Wojtek Mietka

Copyright Statement:
This track is not intended to infringe any copyright laws in any way. This is for the sole purpose of entertainment; no profit is gained from this. It is the copyrighted property of its respective owner(s)

Under Section 107 of the Copyright Act 1976, allowance is made for “fair use” for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.

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Fan submitted. Thanks to Izzy from Texas for the support!

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Music video:

https://www.youtube.com/watch?v=v5Lz-UWwlzg

Meet Terre Thaemlitz, the transgender clubland renegade who wants to take house music back to its near-forgotten queer roots


Go to any big house night today and theres a fair chance that youll come away with the image of muscle lads in plunging vest tops, students selfie-ing in front of the speakers, and a million Disclosure remixes imprinted on your hangover. As the genre continues to commodify itself faster than you can say Duke Dumont, these events can often feel tediously hetero and geezered out, a million miles away from house musics roots in queer club culture, when clubs were spaces for activism and social change as well as escapism.


Thats the bone that transgender DJ and producer Terre Thaemlitz has to pick with todays house music boom. It seems that the queer factor of todays house events is really low, she says. If youre in the US and its a straight, white club then its just a fucking nightmare. These events are the celebration grounds for heteronormativity. There is a historic connection between queerness and deep house, and also things like transgenderism and vogue, that, to me, was really important and its utterly absent. Its not just about the music having broader appeal, either: It has to do with this cultural shift away from the necessity to actually have clubs function as safe spaces for different types of sexual enactment.


Continue reading…

by Kate Hutchinson via Electronic music | The Guardian
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