youth creates

i’m 25 now and i hope that no matter how old i am or how educated i become i never talk over young LGBT kids or tell them they’re wrong. i mean shit, i have some pretty strong feelings about things like the split attraction model – i don’t condone things i think can be painful or invasive for kids to publicly divulge, especially in the interest of keeping young lgbt kids safe from predators.

but i’ve tried to relax a lot in my politics, and as i get older i try to remain helpful and willing to listen, even to young inexperienced or uneducated kids.

i see these 30-50 y/old queer studies majors just rolling their eyes at young lgbt kids for “not knowing their history” and shit like that – which is hilarious, because coming from a position where you have been afforded a degree and years of education you would think you of all people would know how important it is to listen to the young & struggling voices in our community, but i guess not.

as adults in our community it’s not just important to carry on our history, but to also not lose sight of how the landscape of our community’s oppression changes for generations younger than us.

being lgbt isn’t rocket science, and talking about your experiences does not require some kind of prerequisite understanding of our history in order to talk about how homophobia/transphobia/biphobia/transmisogyny/lesbophobia hurts us individually. it’s ok for young kids not to want to be called or identify with words or use terminology the way our community did decades ago. things change.

the thing about being marginalized is that being educated or older doesn’t mean you inherently Know More about oppression and the lgbt experience. there are homeless trans kids who didn’t even finish high school whose experiences and insight are just as important as the voices of educated Queer Elders, if not moreso.

i personally never want to seem like i’m beyond being wrong. i don’t want to be a part of a community that talks down to our youth and creates an environment where they feel stifled and not listened to.

the knowledge of our history is VITAL, and making sure the youngest in our community know the struggles, accomplishments, and experiences of those that came before us really is crucial. i will always advocate for this.

but LGBT history is not a tool adults should constantly use as a way to shame or write off young folks and their experiences, their comfort, etc. there’s a difference between “this is ahistorical and you should be aware” and “these STUPID KIDS who think [x] is a slur/transphobic just DONT KNOW!! I CAME OUT BEFORE YOU WERE BORN”

maybe it’s just me, but that sure doesn’t seem like a very helpful or radical attitude to have.

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Project: Scrapbook — Horrificator (Part One)

Project: Scrapbook Masterpost (tbp)

Comic By: @daughterofthestars08 (lineart) & @artgraveyard (lineart and color) & @chalala-chan (color) 

Written By: @purr-cat-stinate & @mimosaeyes

Beta’d By: @miraculousandcute & @emeralddrop

Summary: N/A

Words: 5671


Despite the chilly season, the sun was already gracing the citizens of Paris with its warm rays of sunlight that poured from the clouds down onto the earth. It was a lovely day, perfect for picnics, and walks in the park. It was a lovely day to discover something new; or perhaps to create something new.

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you ever get really emo bc youre thinking about nct dream and how theyre all gonna grow up together and become adults together one day and through everything, they’ve done it together and i mean they got their first win together and what other feats are they gonna accomplish together next?? like !!! binch !!!!! nct dream created youth and friendship!!!!!!!!

Sometimes Rain Falls

A BTS Fanfiction

Type: AU/Alternative Universe

Summary: Sometimes a normal life is a good one to lead; its nice…its easy…
But sometimes, normal isn’t the way that things were meant to be. And when you’re chosen as a possible candidate for one of the kingdom’s 7 princes, life isn’t as nice and easy as you always presumed it to be…especially when you catch the eye of more than one of them…

A/N: I will warn you all now, that this fic is going to be VERY different to my usual stuff, but you can expect a hell of a lot more twists, turns, secrets, and debauchery than ever before… ;)

Disclaimer: I will put warnings on any chapters that challenge social acceptance, however, as an overall warning, this story will contain themes of sex, fear, control (of one person over another), and elements of a gothic nature! 

Trailer

Part 1

~~~~~~~~~~~~~~~~~~~~~~~~~~Preface~~~~~~~~~~~~~~~~~~~~~~~~~~~

It was so…dark.

All the stories that you’d ever heard about the castle had been about how music sang from the walls, how long clouds of silk curtains billowed gently in the breeze that wafted through the grand windows, how the place was decorated with ornaments, paintings, crystal vases galore…

But the first thing you noticed as you walked through the tall, oak doorway…

…was the darkness.


‘I don’t think we’re allowed to be down here.’ You murmur to the man pulling you along by the hand, your eyes wide as you watch the water dripping down the dank walls of the corridor you’d come to find yourself in after climbing down numerous stairs to what you thought would be the library, but what was starting to look more like a dungeon.

‘Don’t worry. I know where we’re going.’ He murmurs amused, the humor-filled lilt of his voice not working to reassure you at all as you begin to drag your feet, struggling to hold the bottom of your dress off of the floor so that it wouldn’t get wet as you watch him stare excitedly in front of himself.

‘I really think we should head back- what if someone sees-‘

You’re cut off when he suddenly stops, spinning back to pin you against the wall, his eyes dancing excitedly over your face for a moment before he pushes his lips against yours, ducking his head down and softly pressing his mouth to yours, practically being able to feel the adrenaline running through him in the kiss.

‘I have to show you.’ Is all he says as he pulls away, staring at you almost piercingly as he grins, and you swear you see his eyes flash a different colour momentarily, your heart racing in your chest with the sight of the abnormality, before you’re being kissed roughly, yet briefly, again, and once more he begins to drag you along the corridor, his grip on your wrist having tightened somewhat compared to before.

You remain silent as you follow after him, the only sound being your slightly ragged breathing, trying not to trip over your feet as he out-paces you, getting lost in your thoughts as the image of his eyes flashing repeats over and over in your mind. But just as you go to stop him once again, you look up to see that you’d arrived at the end of the dark corridor, a large solid oak door standing in your path.

‘This is it.’ He whispers to himself, turning to look at you with his lip caught between his teeth as he grins, the expression telling you that you were meant to be as excited as him, but all you could focus on was the way your heart was racing in your chest at the prospect of the unknown, your nervousness making you stare at the gold buttons decorating his chest rather than being able to look him in the eye.

‘Princess?’ he murmurs, the unexpectedness of the word forcing your gaze to his, and the minute you look into his eyes you wish you didn’t; seeing the same flashing of colour greeting you as he grins down at you devilishly.

‘Are you ready?’

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An ask made me realize this still doesn’t seem to be conveniently available anywhere, so Warren Ellis on Superman and Lois Lane circa 1998 (with some pictures thrown in by me):

WHY THEY’LL NEVER LET ME WRITE SUPERMAN

Brief, Disconnected Notes On An American Mythology—Warren Ellis

I’m not a superhero fan. I had to learn the subgenre when I began writing for the States. I’ve had to learn to read them. Now, I can appreciate some of them. Not many, it has to be said…but some.

The one I always wanted to like was Superman.

Superman is a uniquely American icon, and the first true myth of the electronic age. One special facet to it is that it began as a myth told to children by children. Jerry Siegel and Joe Schuster were youths when they created Superman, a far cry from today’s handful of twentysomethings and carloads of middle-aged men who give today’s children their superheroes.

(Perhaps this is why, to me, a strong adult story told with Superman would seem curiously inappropriate – and, conversely, the 20th Century social nightmare given inky form that is The Batman seems to me strangely inappropriate as figure of children’s tales.)

Superman, then, is the agent of modern fable – the most compelling fable the 20th Century gave us. Soap opera is unworthy of him, and, as has been proved many times, is not big enough to contain him and the central concepts of his story. At the heart of myth and legend is Romance. That is not the same as the weak, whiny demands of soap opera that begin with “characterization” and crap on with demands for ever more levels of “conflict”, “jeopardy”, “ensemble writing”, “tight continuity” and all the rest of that bollocks. These things are unimportant. Many of them just completely get in the way of the job at hand.

SUPERMAN requires only the sweep and invention and vision that myth demands, and the artistry and directness and clean hands that Romance requires.

SUPERMAN is about someone trying their best to save the world, one day at a time; and it’s about that person’s love for that one whose intellect and emotion and sheer bloody humanity completes him. It’s about Superman, and it’s about Lois and Clark. And that’s all there is. That’s the spine. That must be protected to the death, not lost in a cannonade succession of continuing stories.

That’s what, in the continuing rush to top the last plotline, I see getting lost.

I understand, accept and even to an extent agree with what’s going on; The SUPERMAN creators are trying to keep the books vital, keep them moving, keep those sales spikes coming. But they seem to me to be getting away from the sheer wonder of the Superman myth.

(The single title that does seem to be hewing to the line I’ve just scratched in the sand is Mark Millar’s charming and energetic SUPERMAN ADVENTURES.)

What SUPERMAN must avoid is genericism. It must live up to its billing. The comics must crackle with invention and mythic power.  They must always resolutely be of Now, be utterly modern – if not utterly of Tomorrow. They must thrill and frighten and inspire and give us furiously to think.

Crucially, they must not simply offer us a parade of costumes and odd single name/titles. There must be stories where something important is at stake. Something worth saving, be it the life of a human, the soul of a city, the fate of a world, or the future of a child.

Mike Carlin always characterizes the ongoing thrust of the Superman titles as the “Never-Ending Battle”. Those battles must have stakes beyond those of smacking about this month’s new costume with an odd name.

(Superman tackles natural disaster and human crime. It’s his belief that nothing else falls within his purview. War and the politics of famine, he feels, are part of human government, and so not his place. He will not interfere in the growth of the human race, as much as it sometimes breaks his heart.

He merely, obliviously, shows the human race, by example, how to be great.)

A letter from former Artistic Director, Dominic Dromgoole

A letter to the next Artistic Director.

Dear Fearless, and Fortunate soul,

Twenty years ago, Mark Rylance and Lennie James led a company in a modern dress production of Two Gentlemen of Verona, the first production in the new Globe.  Much scholarship went into the show, and twice as much free-wheeling invention. Happily, exhilaratingly, no-one knew entirely what they were doing, and they and the audience joined to discover a new language for making theatre. An adventure was launched, which led to twenty continuous years of chance-taking, boldness and surprise. Six people in pyjamas doing Cymbeline; scrupulous Original Practice work; throwing a roof on the building for Titus Andronicus; building rose gardens in the yard for Merry Wives; and yes, phantasmagorias of light and sound for last year’s Dream; and brute urbanising for Imogen. Shakespeare done with freedom and a curiosity to match the audience’s. 

That is the Globe tradition. It was new, and it is still new. A newness that begins again every afternoon and every evening when the audience come in and draw their breath at the sun, the wood, the colour, the swirl of it all, and each other. Newness is not easy for everyone. The bile towards the Globe was there at the beginning, was felt keenly by Mark, was ever-present in my time, and spilled out last autumn hideously from those both pro- and anti-Emma Rice. It goes with the territory. The Globe is forever breaking moulds, that inspires fear, and fear can lead to loathing. The rush of energy that accompanies the new, and the roar of approval from those happy to climb on board is more than ample compensation. Dear Fearless and Fortunate Soul, above all else keep the Globe new.

From the very start, the Globe pushed the boundaries on BAME casting, an action which we continued in my time with the natural joy of walking into a brighter room. Emma has carried that torch. Globe gender-bending began with Shakespeare, and Mark extended it with Vanessa Redgrave as Prospero, and with three all-female companies, including Phyllida Lloyd’s first Shakespeare with a female company, a seedling which grew into a spectacular tree. We carried this on, and were proud to transfer two successful plays by women writers to the West End in my last year. Emma extended this experiment much further, and she was right to. Carry on pushing these envelopes.

Mark experimented with new plays, a risk that grew fast as we presented countless big new public works. New writing beside a Shakespeare is a constant reminder that Shakespeare himself was once new, and the energy of the former electrifies the latter. Emma has carried that on, and, for me, it should remain at the heart of the Globe.

The Globe’s youth creates endless opportunities. It fits no particular mould – neither subsidised nor truly commercial – so is still free to invent itself. Over the last twenty years, it has freestyled different ways of playing Shakespeare; created a small-scale touring network, both national and international; built a new theatre, the Sam Wanamaker Playhouse; held a huge International Festival, and created a filming programme and a VOD platform. Contrary to some bizarre lies which have been circulating, all done within its unsubsidised means. Emma came in with a host of new directions, of new ways to facilitate artists, and with a large-scale intervention into how shows are staged.

The fact that Emma has been stopped in fulfilling her ambitions is heart-breaking. It is also wrong. The spirit of a theatre is that it should follow the lead of its artistic director. And an artistic director cannot usefully be anyone but themselves. The fact of your contract is also that, unless otherwise specified, you are free to invent as you wish. The only people who have the moral strength to get rid of you are the audience. No-one else, not the board, not your supposed colleagues, not the vulture punditry, just the audience. Emma had lost a little of the Globe audience, but all the evidence is that she had gained some as well. Please remember, F, and F Soul, that your first responsibility is to yourself, and to them.

At the heart of the Globe are, for me, two things. First the £5 ticket for the yard. Over the last twenty years that single fact has given over five million people an extraordinary experience for less than a sandwich costs. They have seen Mark in his pomp, Gemma Arterton’s Rosaline, Gugu Mbatha Raw’s Nell Gwynn, Roger Allam’s Falstaff, Eve Best’s Beatrice and Cleopatra, and countless others for only £5. It is a miracle. For all the talk of accessibility elsewhere, there is nothing equivalent to touch it. It makes many uneasy, many who espouse accessibility write with a shameful snobbery about tourists and students as if they were a sub-human species. There was also a steady pressure internally to raise that price, a pressure which Mark and I and Emma resisted. The £5 ticket is at the heart of the Globe’s success, you must fight for its survival.

The second thing at the heart of the Globe, for me, is playing in a shared light. A democratic space where a story unfolds as an imaginative agreement between text, actors and audience. It is this that Emma experimented to change, and which is at the heart of her disagreements with colleagues and the board. For me, shared light was the unique Globe tool, which subverted the orthodoxies of director’s and critic’s theatre, and which handed back to the actors and the audiences the capacity to collaborate together freely on making an imaginative experience occur. Taking away that uniqueness doesn’t strike me as radical, it strikes me as conformist. Every theatre has light and sound, the Globe didn’t. This uniqueness matters to me, and for me, F and F Soul, it is important to preserve.

However Emma didn’t come in to emulate myself, or Mark, she came in to be herself, and so she triumphantly was. As an Artistic Director myself, I respect Emma’s choice in doing so, and I cannot respect the blocking of her choice. No-one, not committees, not cabals, not connivers, no-one can set this policy but the AD. They have to make these choices with passion and conviction for the whole of the rest of a theatre to make sense.  Early on in your time, you will find it invaluable to listen to the many experienced voices around you, and also invaluable to be exceptionally wary of those who do not want to advise but who want to influence. Everybody wants to be Artistic Director. They can’t all be. Only you can. It is vital, Dear F and F S, that you ring-fence with iron and steel your own freedom and ability to make choices. This must be put down in black and white, and made public, and it must be adhered to. With an ear to what the audience wants, and with an eye for where to take them, no-one should set artistic policy but the Artistic Director.

Now that Emma has carried out her experiments with light and sound, it is pointless to pretend she hasn’t. What has happened, can’t unhappen. Many felt alienated by it, many loved it. To write it out of the Globe story and say it can’t happen ever again is fundamentalist, and as daft as any form of fundamentalism. Emma’s experiment should be folded into the Globe’s story as gleefully as all the other experiments have been; new work, internationalism, modernising, design interventions. For me, the majority of the work should be in a shared light, and with natural sound, but to make it that and that only, just doesn’t add up. Dear F and F Soul, fight to keep room for manoeuvre.

You will notice, Dear F and F Soul, that some of my comments have alluded to negative energy. It would be foolish to pretend it isn’t there. The Globe has its enemies without - many don’t like the freedom of the place, its open-ness and its warmth. Some simply can’t cope with its happiness. Our culture and its commentators often prefer the shrivelled sausage to the plump one, and the Globe is fat and juicy. The degree of bile can be disabling. I have just had my own and my family’s Easter wrecked by some pathological viciousness, and I’ve been gone a year. Emma has had to put up with much worse.

Sadly the negativity doesn’t only come from without, there is also a fair sum within. There are structural problems, there are personality problems, there is too much fighting for territory, and there are too many who feel free to comment on work without ever taking the risk of making it. It is absurd that out of the mess of last year, the only person to be suffering the consequences is Emma. However the Globe is taking steps to address the problems, you have an excellent CEO in Neil Constable, who has copped too much of the blame for last year’s imbroglio while doing all he could to avoid it, and you have the best theatre department in the country. The fact that the Globe has gone on making excellent work through summer and winter, with so much distraction, is testament to their excellence. Dear F and F Soul, you will have to be prepared for tough decisions, you will have to be strong and independent, but you will have some of the best around you.

Above and beyond all else, Dear F and F Soul, if you inhabit the same office which Mark, I and Emma were blessed to sit in, every day through the long summer, you will hear at 1 o’clock, and at 6.30, a bubbling hubbub of excited chatter, and standing to look out you will see a snaking queue of four or five hundred people, eager to charge through the doors, and jostle their way to the best positions in the yard. The quality of their excitement and anticipation, of their sheer appetite for a great afternoon or evening, of their big human hope - there is no price that can be put on that. It is one of the biggest privileges in the world of theatre to be able to join with it.

Relish, enjoy, make their hopes and yours real.

All the best,
Dominic Dromgoole

“Having reduced Christianity to a message, we create an emotional experience as a gateway to dispensing the message. But this is a sign that we have given up on incarnate modes of formation bequeathed to us in liturgy and the spiritual disciplines. Instead, we have created youth ministry that confuses extroversion with faithfulness. We have effectively communicated to young people that sincerely following Jesus is synonymous with being “fired up” for Jesus, with being excited for Jesus, as if discipleship were synonymous with fostering an exuberant, perky, cheerful, hurray-for-Jesus disposition like what we might find in the glee club or at a pep rally.

The result, I would caution, can be disastrous. If we effectively communicate to young people that being a serious follower of Jesus is synonymous with being an extrovert for Jesus, then all of our young people who simply are not wired that way are going to quietly assume they can’t be Christians. If the exuberance of the energetic youth pastor is taken to be exemplary, then all sorts of young people will mistakenly conclude that they simply can’t be Christians. And so the unintended consequence: in the name of curating an exciting, entertaining “experience” to keep young people in the faith, we end up only creating consumers of a Jesus message while disenchanting vast swaths of other young people who simply can’t imagine signing up for a Jesus glee club.” -James K.A. Smith, You Are What You Love

I always feel like Irish students and characters got no love in Harry Potter (Seamus Finnigan was a huge stereotype, even if he was likable), so consider:

☛ Students speaking Irish amongst themselves and splicing Latin with Irish to create new spells (or disasters)

☛ The Quidditch team having Cú Chulainn in their fireworks instead of a leprechaun

☛ A regional magical sport which is essentially hurling but with sliotars that can move once on the ground in whatever direction they choose, and occasionally fly away from players when they lose momentum in midair. Not practiced officially in Hogwarts (yet) but students start to band together to form a club for the game.

Irish Mythological and historical figures being cited as witches, wizards, or having other magical significance e.g. Cú Chulainn being a werewolf as a result of actually receiving a bite from Culann’s hound before killing it (explaining his “distortions”), The Morrígan being an animagus (turns into a crow), Deirdre having Veela blood (people literally killing each other to get in her pants)

☛ Oscar Wilde is a noted wizard and author. He knew Dorian Gray, who attempted to gain eternal youth by creating a horcrux, but eventually fell into madness and destroyed his own horcrux, killing himself. Wilde, while distraught, accidentally let this slip to a muggle friend, and covered it up by writing a story about it. Wilde’s own portrait now hangs in Hogwarts. He offers writing help, life advice, and complains about the wallpaper opposite him.

Additions welcome get in here and get this express rolling

Racist Robots?

I’m sure some of you have read posts about the beauty pageant judged by a panel of robots that wound up favoring light skinned people. Well it’s floating around again, and many uninformed bloggers are using this story to support the delusion of universal preferences.

I would just like anyone offended by all this to know that the human folks at Youth Laboratories, who created the algorithms used to determine winners, did NOT use data that included all minorities when establishing the standards of beauty by which contestants were being judged.

So we’re looking at biased results here. And they can be traced to the people who set the rules in these calculations. Not some even-handed, simulated opinions of a machine. Don’t let people ignorant of this tell you anything different. I’m only saying what Chief Science Officer, Alex Zhavoronkov, from Youth Laboratories, has said, himself.

espn.com
LeBron James to open public school for at-risk kids
LeBron James is teaming up with Akron public schools to open the "I Promise School" dedicated to aiding at-risk children who might otherwise be left behind.

Lebron James is known to make an impact on the basketball court, but that’s not the only thing that’s got people talking.

It’s the recent announcement that the Cleveland Cavaliers star would be opening a public school in Akron, Ohio, his hometown, for at-risk youth, that’s been creating a buzz.

The “I Promise School,” which is set to open in fall 2018, will receive funding from the Lebron James Family Foundation. Before expanding for children in grades first to eighth, it will begin with third and fourth graders.

“This school is so important to me because our vision is to create a place for the kids in Akron who need it most – those that could fall through the cracks if we don’t do something,” says James.

James could have been one of those kids, but he was given the opportunity and support to strive for better, putting him in the position he is in today. This is why he’s been so dedicated to helping the youth, especially those in Akron.

It’s always great to see NBA stars, like James, giving back to the community in any way they can.

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GUEST BLOG: Youth Day

Naomi, our current volunteer drama facilitator at our Piet Patsa Comunity Arts Centre in Rammulotsi, Free State shares what the young people have been working on over the last month.

On June 16th (South African ‘Youth Day’) the young people will be showcasing their devised work. It’s crazy to think that’s only two weeks away. Over the past month we have explored improvisation, devising from stimulus, devising with constraint, context, theatre tactics such as synchronicity and freeze frame, and many other dramatic concepts. The group handle each new topic dynamically, with an easy adaptability and impressive imagination.

For their performance, I gave each cast the framework of a letter. Initially individually, they were each tasked with constructing a letter to anyone they liked, alive or dead, could be their best friend or someone they had never met, about anything they chose. The one restriction was that the letter had to reflect an emotion.

They have since developed these ideas in groups, using storytelling techniques, resulting in a variety of narratives incapsulating many themes.

Now with the foundation of a storyboard each group is busy rehearsing, utilising the skills we’ve explored over the last month and researching new conventions to include. (The short stage combat workshop was pretty intense…)

Very excited for the team to share what they’ve been working so hard on.