#2026.

[thereisnoafter]

[hcneymooners]

[gladsforthelads]

CALEB THIRD MYTH EVENT: GHOSTS' FINAL MARCH

I will more than likely not pulling for this troll (my sibling will). There's mixed reviews on Caleb right now (reasonably so) and Infold doubling down on the sibling relationship thing. . . While I like the boys relatively equally enough and I am definitely jaded towards this genre type in Asian media (the 90s & 2000s anime/manga world was a wild plain for the West, lol) it's not something I particularly care for.

MY HOT TAKE: This myth for Caleb is giving 'custom game character to be bad ass' energy from when Caleb was a teenager for some open world RPG. The long hair is fine, the claws are fine, but idk how to explain it other than this one almost makes him feel even younger and it feels like a character design young Caleb would have chosen.

(If you've seen Inside Out 2, he's lowkey the hot anime video game character Riley had a crush on Lance Slashblade and was lowkey ashamed about)

[elast1cheart]

um starter entre catherine e muse, em frente à janelas. 1999. @ttstarters.

catherine estava sentada de frente pra uma janela qualquer, apenas para que o ar frio da manhã pudesse bater contra o rosto. tinha esperança de que aquilo resolveria sua dor de cabeça, mesmo que não soubesse se ela vinha do quanto bebeu na festa ou de tudo que aconteceu depois dela. a diferença é que seus olhos não encaravam os castelos com a mesma insistência de antes. "se eu tiver que ouvir mais uma teoria sobre viagem no tempo, juro por deus…" falava arrastado, em um suspiro quase impaciente. porém interrompeu o próprio pensamento e se direcionou à nova companhia. "temos alguma coisa útil pra fazer numa situação dessas? ou a gente só aceita nossa incapacidade? e o tédio que vem com ela."

ou 2026.

catherine raramente ficava parada sem motivo, mas naquele momento, estava. os braços se mantinham cruzados, os dedos tocavam os lábios avermelhados enquanto os olhos continuavam fixos no castelo à frente — o que, por consenso em teorias, parecia ser mais antigo. não via muita coisa na janela, mas imaginava o que poderia estar atrás dela: uma versão antiga sua, ainda despreparada e inocente. "bom…" ditou em um suspiro, como se estivesse saindo de um transe. havia notado companhia e não queria parecer distraída. "pelo menos agora ninguém pode dizer que a escola é previsível." escutava os alunos e suas reclamações sobre a mesmice da rotina, o que fazia aquela situação toda ser tragicamente cômica.

[esuemmanuel]

No se enamoran de ti sino de sus ilusiones, corrompidas por su ceguera.

They don't fall in love with you, but with their illusions, clouded by their blindness.

[alaskaenmelena]

Bolshakova stop, 2026. The driver says hi to everyone!

[burlveneer-music]

Shabaka - Of The Earth

‘Of the Earth’ was entirely written, produced, performed and mixed by Shabaka. It’s a deeply personal album which establishes Shabaka as a new form of instrumentalist/producer and shows the musical range that connects his dance based work from groups Sons of Kemet and The Comet Is Coming to the intricate textural sound world of his recent solo works (‘Perceive its Beauty, Acknowledge Its Grace’, ‘Afrikan Culture’) . Beats and loops made on portable devices whilst on the road lay a foundation for choral flute melodies to soar within. Sequences of electronic rhythms outline a story of diasporic progression and words contextualise the record’s lyrical framework. Shabaka raps on the album - “I’ve never rapped before but was actually inspired by André 3000’s courage in exploring new dimensions with fearlessness and sincerity; I decided to find my voice on this album”. A self imposed saxophone hiatus ended mid 2025 with a performance for South African drum maestro Louis Moholo’s memorial concert. This album marks Shabaka’s first recording made after a year and a half not playing the saxophone and a reckoning as to what his time on flutes primarily has shown him to be the future for his relationship with the instrument. Shabaka says of an initial inspiration for the album - “D’angelo’s Brown Sugar was the first CD I bought and it sparked a lasting curiosity about the emotional possibilities allowed by the self produced and performed album. This record is my celebration of freedom in creative self expression. Before the pandemic I could only play the clarinet and saxophone and knew nothing about music production (or how to play the flute), so this has been a journey of learning and a reflection on the music that’s been created as a result.”