stars in the making, right here
đȘŒ

â
will byers stan first human second
One Nice Bug Per Day
Misplaced Lens Cap

#extradirty

ellievsbear
Xuebing Du

Andulka
trying on a metaphor
Lint Roller? I Barely Know Her

⣠Chile in a Photography âŁ
$LAYYYTER
Mike Driver
hello vonnie
Keni
Show & Tell
i don't do bad sauce passes
"I'm Dorothy Gale from Kansas"
taylor price
seen from Malaysia

seen from TĂŒrkiye

seen from United Kingdom

seen from United States
seen from Indonesia
seen from Malaysia
seen from United States

seen from United Kingdom
seen from United States

seen from Malaysia

seen from United States

seen from United States
seen from Canada

seen from Malaysia

seen from Malaysia

seen from Singapore
seen from United Kingdom
seen from United Kingdom
seen from United States

seen from Malaysia
@raisethecurve
stars in the making, right here
Listen and make your own on Suno.
I can't get over how beautiful this is. Someone's out there making music in Elvish and it's the best thing ever.
when itâs past Tuesday I whisper to myself âplease donât let beautiful dreamer be something as dark as it feelsâ though I know itâs too late to erase a memory as dark as the shadow I carry not even a hint of pink can curtail a terror but itâs a nice distraction humming the tune mournful, wistful, a little slow spring flowers barely a barrier when itâs a lonely day in a budding spring I canât keep up with whatâs new or what is haunting itâs way through
joy and pushing buttons in cardinal directions. fear of death is silly but i sure as fuck fear coming back
I SURE AS FUCK FEAR COMING BACK
drove a red mustang to nashville
with a tank full of whiskey & my darlin's ill will
it's amazing how many miles you can travel on spite
raisethecurve
figured promises were a fortune in circumstances based off nothing in particular.
loafers in dirt, zest in a plate not enjoyed.
don't make that face; we'll wind up frolicking in pastor's memory banks as prisms of circumstance and wonders of ballot votes
ask my lips if they like yours,
ask the frozen pond if we should fall through
The Gift
Life need not be a competition in the end what have you won can you take your worldly gain when itâs all been said and done You ask then is it meaningless I donât know and I may be wrong but I sense the love given away may be the gift you carry along Â
âThere are still many more days of failure ahead, whole seasons of failure, things will go terribly wrong, you will have huge disappointments, but you have to prepare for that, you have to expect it and be resolute and follow your own path.â
â Anton Chekhov
Sir Mike...The Real Miracle
fifteen years is a long time to learn the shape of someoneâs words the way they lean when they are tired the way they rise when the world forgets to be...kind
you were never just Mike Frawley (I don't Capitalize for just anyone) you are the quiet architect of feeling stacking words into lighthouses so the rest of us can see where to step
and now the dark has come uninvited unashamed trying to write a poem you did not write
but i have read you too long to believe this is an ending
you who stitched light into all the others grief who made ache blossom into a song who taught silence how to...speak
you do not belong to this diagnosis you belong to every breath ...of every one of us... that still dares to hope
so here is my prayer not polished not perfect but stubborn ...as my friendship is
let the cells remember they are part of a man who has wanted nothing but creation never destruction
and "miracles happen I" are just moments where the universe leans in closer and WE lean closer close enough for you to ...hear
lean hard like you always have
i am still here fifteen years later standing in the margins of your story
believing with everything i have
that this page this poem your poem is not the last one Kevin's Note: Hi-jack Collab the Shit outta this...
Rebuild
I wanted to cut away the pain deep inside me. I wanted to sleep away the hurt and never let it in. I wanted to hang my insecurities; take a gun to my fear. Then a voice spoke through the crashing of my salty tears: âUse that which I have given you. Build a tower to stand upon, my dear.â
EliannaâŠA Winter Flower
this time of year i remember more i reminisce more i think of herâŠmore this time of year the flowers shed their petals they bare themselves prepare themselves for their next phase for the summers sun and the warmth of better days this time of year they die some they cry some not knowing what is to come
some flowers stay to bloom again here some go and bloom again⊠in Heaven
**I miss her...her words** go read them if you can. @sheddinpetals Gone WAY too soon! Love you Elianna!
it's just that time of year
I have a favor from all of you brilliant poets and writers. My daughter Kensleigh, yes that little girl from all my posts back in 2011-2014 or so if you were around back then, has written a couple versions of a poem and was hoping to get some feedback and opinions to help her decide which version to move forward with.
EURYDICE
I held your hand once when I was small. Sometimes I canât remember now that I am tall. We slept beside each other once, and now I wonder if youâre cold. I try to picture if youâll know me when Iâm old.
I see traces of you that donât lead anywhere, Faint outlines in places that forget you were there. And when I look up at night, I still wish on falling stars, Hoping somehow youâre not as distant as you are.
I used to hear you follow softly up the stairs, A second set of footsteps fading into air. And when I turn around, caught between hope and despair, I feel you most in knowing you are never there.
OR.....
EURYDICE
I held your hand once when I was small Sometimes I canât remember now that I am tall We slept together once and now I wonder if youâre cold I think about if youâll know what Iâll look like when Iâm old I see traces of where youâve been that donât lead to where you are And when I look up at night I tend to wish on falling stars I used to hear you follow me up the stairs And when I turn around I feel youâre never there
**Kevin's Note...Thank you to everyone that can take the time**
What a wonderful way to start my day!
I feel obliged to pass on some of what I've learned hanging around your dad for so many years, Kensleigh.
I held your hand once when I was small. Sometimes I canât remember now that I am tall. We slept beside each other once, and now I wonder if youâre cold. I try to picture if youâll know me when Iâm old. I see traces of you that donât lead anywhere, Faint outlines in places that forget you were there. And when I look up at night, I still wish on falling stars, Hoping somehow youâre not as distant as you are. I used to hear you follow softly up the stairs, A second set of footsteps fading into air. And when I turn around, caught between hope and despair, I feel you most in knowing you are never there.
When I have a rough draft, my first review pass is always for syllabic structure, which most often determines breath. Here, in the first stanza, we have: 5/4 (i held your hand once / when i was small) 7/5 (sometimes i can't remember / now that i am tall) 8/8 (we slept beside each other once / and now i wonder if you're cold) and 5/4/3 (i try to picture / if you'll know me / when i'm old) which is nice because the breath (and with it, the mood) builds to this nice terraced dynamic of 5/4/3 that carries with it some weight. Now I'll do a breath pass, and see if i can say these lines in my natural breath in that syllabic structure. 1st line: perfect 2nd line: gets caught on I am (haha iamb) so let's consider shortening that to "I'm". 3rd line: it feels as if this needs to be broken into two lines/breaths. 4th line: perfect, and ends on a somber note.
Now we do the same for each stanza, and finally for the full piece, to make sure it flows from beginning to end in both delivery and breath.
What we end up with is something like this, a stretched out, breath-structured version of the image.
i held your hand once when i was small
sometimes i can't remember now that i'm tall
we slept besides each other once, and now i wonder if you're cold
i try to picture if you'll know me when i'm old
i see traces of you that lead nowhere
faint outlines in places that forget you were there
and when i look up at night, i still wish on falling stars
hoping somehow you're not as distant as you are
i used to hear you follow softly up the stairs,
a second set of footsteps fading into air
and when i turn around caught between hope and despair
i feel you most in knowing you are never there
So now we have something to play with! Now we can look at other devices such as enjambment, which seeks to juxtapose images, layering emotional complexity.
i held your hand once when i was small sometimes i can't remember now that i'm tall / we slept beside each other once and now i wonder if you're cold, if you'll know me when i'm old i see traces of you that lead nowhere / faint outlines in places that forget you were there / and when i look up at night, i still wish on falling stars hoping somehow you're not as distant as you are i used to hear you follow softly up the stairs, a second set of footsteps fading into air and when i turn around / caught between hope and despair i feel you most in knowing you are never there
So, why all this foolishness? Why not just a simple critique and a few suggestions for line variations or voice alterations? Honestly, that shit's for the birds. Critique in writing all too often takes on an air of hijacking, overwriting one voice with another, because understanding how to speak in one's own voice is already demanding enough.
I could critique, but it would be too granular to be of any value. You've got the hard part down. Instead, I've shown you how I play with words. This is almost certainly not how you should work, but it's cool to make a study of. These are the elements of poetry that form the basis of my appreciation for beauty on the line. I am a breath-focused wannabe imagist. If I focus on the things I care about, cradling the image until it fully forms within the space of breath I've provided it, I usually come out with something pretty elegant, and uniquely my own.
In the old days, rhyme scheme was the constraint that people worked images into. Then melody for song. Then the breath of free verse. Countless other constraints exist. You'll find yours, or invent one.
This is the work of being a poet in my opinion, and the greatest gift I could share with you is showing how simple/childish/alien my own process can be. Choose the parts of language that speak to you and work the visions in your mind to accommodate them.
Your poem was already a complete image, a hauntingly tragic thought. That's the hardest part of creation! The rest is just play, just style. Embrace this dichotomy: don't get caught up in any pretense for the craft, which can confuse the issue and remove all the joy.
Hopefully, after some exploration and practice, I'll read your work and learn what you care about, what matters most.
Hey TWC, let's play a little game of "is that my blog name?" Go.
i wonder how many people assume i like everything and how many have figured out i have a crush on them....
from Velvet Orchard, Neon Hunger
The Neutrality Con
The most effective censorship today does not ban sentences. It makes them expensive.
Public debate in the United States is often described as âpolarized,â as if two sides are drifting apart by natural force. That description misses a central dynamic. A large share of what we call polarization is a legitimacy conflict: a fight over who counts as a serious speaker in the first place.
The dominant weapon in that fight is not censorship in the classic sense. It is disreputation, the act of lowering a person beneath the threshold of being worth listening to.
Disreputation matters because it is control that does not look like control. It does not need bans. It does not require the state. It works through tone, status, and institutional cues. It leaves speech technically available while making it professionally, socially, or psychologically costly.
The mechanism is simple. If I can make your position sound embarrassing, unserious, or socially hazardous, I do not have to answer you. I do not have to argue. I only have to ensure that when you speak, listeners hear ânoise.â
This is the core of what I mean by the neutrality con.
In public life, the most powerful posture today is not a party and not a pole. It is a tone that claims it is not a tone. It calls itself neutral. It calls itself rational. It calls itself âjust reality.â
That posture presents itself not as one worldview among many, but as the baseline from which serious people speak. Once it controls that baseline, it does not need to persuade. It only needs to decide what a serious person is allowed to sound like.
The payoff is asymmetry. Some speakers must justify their premises; others get to treat their premises as the default. Disagreement is treated less as an error to answer and more as a reason to dismiss the speaker.
This is not new in spirit. Liberal societies have always been tempted to punish by âother means than civil penalties,â as Mill warned in On Liberty. Tocqueville noticed the same pressure in democratic life: a soft coercion that does not need prisons to make dissent feel unsafe. Kierkegaard sharpened the point in one famous line: âthe crowd is untruth.â In each case the danger is the same. The crowd becomes a court.
You can feel this shift in the way dissent is managed. Disreputation rarely announces itself as punishment. It arrives as a raised eyebrow, a polite laugh, a âlanguage, please,â a slogan insisting that words are violence, a professional memo about âcommunity standards,â or the confident voice that insists it is simply following âthe data.â In practice, the message is not âyouâre wrong,â but âyou donât get to say that here.â
This is why so much of public life now feels like you're one comment away from an HR meeting. The subject is not only what you think, but whether you are permitted to think it out loud.
Modern conflict increasingly operates through status, access, and credibility. In other words, it often works through indirect pressure rather than direct confrontation. Jordan Peterson has stated that female antisocial behavior presents as reputation destruction and social exclusion. You do not have to accept his framing to recognize the broader phenomenon.
Call it relational aggression. Call it reputational warfare. In practice, it is conflict waged without blood: exclusion, insinuation, clip-and-share humiliation, and the slow demolition of a name.
It is not unserious to describe our current conflict style as feminized. The claim is not that women are the problem. The claim is that our institutions and platforms now prefer soft coercion to open contest: less duel, more tribunal; less argument, more diagnosis; less direct confrontation, more disrepute as the punishment mechanism.
Once a culture normalizes disreputation, the method spreads across factions. The center uses it with institutional polish. The poles learn it with populist fury. Everyone becomes fluent in the same act: turning a human being into a stigma so that a refutation is no longer required.
This is where an older religious insight becomes useful even for secular readers. Girard argued that communities restore unity by finding a scapegoat, a person whose removal relieves tension and proves belonging. Our scapegoats are often not expelled from the village. They are expelled from credibility.
The neutrality con does not take over by winning debates one by one. It wins by shaping which debates are allowed to take place.
Herman and Chomskyâs Manufacturing Consent remains useful here, not because it proves a centralized conspiracy, but because it highlights a structural reality. Mass systems discipline speech through predictable incentives. Their concept of âflak,â organized backlash and reputational cost, captures how institutions learn what is expensive to say.
Once the cost is predictable, self-censorship becomes ordinary behavior. The censor moves inside the speaker. You do not need to ban a belief if you can make it reliably costly to articulate.
Postman described a related shift in Technopoly: the way technical authority can become a substitute for moral argument. âThe computer has determinedâ becomes a modern liturgy, a phrase that ends discussion while sounding like method. Bourdieu, in different language, described the same power at a higher level: symbolic power is the power to define what feels natural, what counts as competent speech, what sounds adult.
The neutrality con is not only political. It is philosophical.
In many elite spaces, transcendence is treated as immature. By transcendence I mean a moral and metaphysical âabove,â a standard beyond institutions, crowds, and credentials. When that standard is rejected, the neutrality posture gains power, because it can present its own premises as the baseline. Moral claims that appeal to a higher court must be translated into an authorized dialect, procedural, therapeutic, technocratic, or else they are treated as suspect. That attitude is now spreading to the wider public.
When transcendence is denied, the hunger for sacred things does not disappear. It relocates. Nietzscheâs âMadmanâ treats the death of God as a crime: "what was holiest and mightiestâ has âbled to death under our knives.â Then the question: âWho will wipe this blood off us? With what water could we purify ourselves?â Once the old court is rejected, the need for atonement does not vanish. It finds new rituals.
Augustine gives the same diagnosis from the opposite direction: âour heart is restless until it rests in you.â Restlessness does not vanish when it loses God. It looks for substitutes.
This is where the neutrality con becomes more than politics. A culture can deny any ultimate standard of truth and still act as if its moral verdicts are final. It can reject sacred language while enforcing sacred boundaries anyway, complete with taboos, purity tests, and rituals of penance, all while insisting these are neutral descriptions. In that world, disagreement is not treated as error but as contamination, because dissent threatens jurisdiction.
If there is no higher court, then the court is immanent: the crowd, the credential system, the institution, the platform, the algorithm, the committee tone. And disreputation becomes its preferred sentence.
Arendt warned that the most dangerous political condition is one in which the public loses stable distinctions, and citizens become unable to separate truth from performance. You do not need totalitarian rule to inherit the temptation. The temptation is to replace persuasion, which is slow, with disreputation, which is efficient.
That contradiction fuels resentment on all sides. People can tolerate disagreement. They struggle to tolerate being told they are illegitimate by default.
This helps explain why polarization has accelerated even as calls for moderation have multiplied. When neutrality becomes jurisdiction, it unites its enemies. The poles do not only hate each other. They share a resentment of being managed by a voice that claims to be above the conflict while policing the boundaries of legitimacy. They do not want to be moderated into the centerâs dialect.
So people defect: to counter-experts, counter-institutions, counter-media, counter-languages, and eventually counter-realities.
Then the center responds the way any legitimacy system responds when challenged. It tightens boundaries. It increases penalties. It intensifies flak. It doubles down on the claim that it is merely âresponsible.â
That feedback loop is what we experience as polarization.
A diagnosis that stops at despair only adds polish to the sickness. The question is what would actually lower the temperature in the war of disreputation.
Not by marketing âcommon ground.â Not by trying to win the credibility war. Winning is part of the addiction.
We draw it down by rebuilding a norm older than our factions: disagreement is not illegitimacy.
The center has to stop pretending it is neutral. If you hold jurisdiction through credentials, platforms, institutions, or gatekeeping, say so plainly. Admit premises. Own moral claims as moral claims. A society can argue with declared commitments. It cannot argue with a posture that insists it is simply âreality.â
At the same time, the poles have to renounce disreputation as a substitute for argument. It is tempting because it is efficient. It is also corrosive. A society cannot sustain free thought if every mistake is punished like a crime.
We also need friction against the clip-and-cancel reflex: refuse the standard shortcuts, worst interpretation by default, excerpt as essence, headline as identity. Slow the compression. Rebuild settings where people have to deal with one another over time, long enough for opponents to become three dimensional again.
And we need to restore a boundary between moral judgment and reputational annihilation. Every society judges. The question is whether judgment aims at truth and correction or at purification and dominance. The latter is not politics. It is sacrifice.
Finally, forgiveness has to return as a civic concept. A society without forgiveness relies on permanent stigma, and permanent stigma demands permanent war.
For readers who take their faith seriously, this is not just a civics problem. It is a worship problem. The question under the politics is who gets to be the final court. If it is God, then the crowd is not ultimate, and disreputation is not a substitute for truth. For a sermon in a sentence, Paulâs line in Galatians is blunt: if your aim is to please man, you will eventually become a servant of the crowd.
The landmark question is not âHow do we defeat the other side?â
It is this: how do we rebuild a public square where people can speak confidently from conscience?
If we cannot answer that, the public will keep fragmenting into counter-realities, and we will keep training ourselves to treat one another as unfit to be heard. The alternative is not uniformity. It is a public life mature enough to disagree without exile, to learn from one another, and to celebrate our differences again.