Hair pins work really well for keeping bangs/long hair out of your face. Practice with tucking them behind a layer of hair from further back towards your ears until it gets easy. Pin it back, leave a little bit of hair out so that it covers the pinned-back hair. That’s the most discreet way to do it. They’re good for wrangling hair in general, get a set, they wind up being handy.

Clips are an option as well and if you poke around you can find some cute ones that work as accessories too.

A lot of this is just trial and error. Play around in the mirror until you find a look that you like!

You sound like me when my marriage was imploding. Being trans was the least of the issues with that relationship, it just brought into clarity exactly how my partner saw me (it’s not good!)

I haven’t spoken to my ex since before the divorce was even final. Life is way better now and I don’t know how. ::: spoiler relational trauma But at the time I felt like I was dying. Like I was having to strangle a puppy to death with my bare hands. Getting punched in the gut 24/7 for a while. It was the worst 12 months of my life. But out of the ashes of that I’ve been able to build a life I never thought I’d be able to. Life is fucking strange. :::

If you have anyone outside your marriage you can talk to about it, do it. I promise it gets better.

deleted by creator

We’re finishing up Love-Lore as a musical aperitif and will be starting The Machine that Kills Bad People any minute!

https://blorp.bot.nu/o/visual_cuisine

It’s the first Blorp of 2026! As always, please let me know if you’d like on or off the pinglist.

90 minutes, give or take, until Death/Dismemberment night. I’m gonna start playing Love-Lore by Deerhoof around 1600 EST/2100 UTC/2200 CET because I can. https://deerhoof.bandcamp.com/album/love-lore

The Gains of Love-Lore’s Lost Futures

Everyone knows that phonography changed everything. If I were to point to the specialness of the late 1960s, it would not be to suggest that earlier moments of phonographic history—such as the global flood of proletarian and rural musics that rose up and swirled endlessly on wax in the years after 1925—were any less significant to the experience of the twentieth century, but rather simply to notice the cultivation of a new kind of listening, one that moved across the field of genre with relative ease and enthusiasm, and that—most importantly—put that stereo jockey into a new kind of relation to the “fine art” music that might find its way onto the platter: collegiality, equality, criticism.

There were plenty of precursors, of course (I think immediately of Charlie Parker’s brilliant interpolation of Stravinsky’s “Firebird Suite” into his solos on “Koko”), but a series of interlocking transformations—including the massive expansion of public education in the US and the UK, the perfection of vinyl as a medium and the transistor as a technology, the rapidly increasing bloat of the entertainment industries, the decolonization process in Africa and Asia, and the new social movements in what used to be called the First World—undermined the authority and permanence of those masters of the written score. You didn’t need to go to school, you didn’t need to take lessons from the maestro to join them as a certain kind of co-equal participant in the development of an “advanced” musical language. At the same time, the projects of modernity that had motivated and underwritten various accredited avant-gardes throughout the century had begun to come undone from the pressure of new historical subjects who told other stories of the destructive effects of European modernity and coloniality. Pan-European modernism has been provincialized, and global artists committed to social transformation are exploring zones that speak to other possibilities.

I was thinking about all of this around the time that Thomas Fichter invited me to collaborate with him on the curation of the Time:Spans festival in 2019. We wanted to think about the history of the avant-garde—or, more specifically, that slice of it referred to as “experimental music”—through many lenses, as practiced by many different kinds of subjects drawing on distinct yet frequently intersecting traditions. (In addition to Deerhoof, that mini-festival inside the bigger one also included work from Matana Roberts, Okkyung Lee, Raven Chacon, Olivia Block, and Sarah Hennies.) I had a great time tossing around ideas with Deerhoof and our old friend, the composer Luciano Chessa, who joined us for our earliest conversations. My first idea was to ask the band to perform a complete album, start to finish, but not one of their own. We thought a complete cover version of an old record by Mauricio Kagel or Luciano Berio might be fun. Ultimately, the band settled on a much better idea, which turned into the medleys that you hear on this release. I loved this solution because it highlighted the active role of listening, the participatory dynamic of the vernacular, and the almost pedagogical quality of musical arrangement: “Here is how we hear this one!”

That concert, in August 2019, in a small hall on the west side of Manhattan, was a special event that I will remember for the rest of my time. I suspect the other 180 people there had a similar feeling. In the first minute or two, I might have caught a fleeting glance from Satomi that wondered, “What have we gotten ourselves into?,” but if such a doubt did exist, it faded quickly. The concert was not brief but it went by in a dazzling flash; I am still amazed that these musicians—all of them, but especially Ed—memorized one hour’s worth of music for a single performance (that’s a lot of notes). At the time, I experienced both of these elements (Satomi’s doubt and Ed’s recall) as contributions to a greater treatise on risk: any real hazard requires uncertainty, demands focus, and invites a response. Hearing that program again, now as a recording, brings to mind nothing if not Sonic Youth’s 1999 record, Goodbye 20th Century, another album that I hold dear. While Sonic Youth worked from scores by Cage, Wolff, and other composers, Deerhoof takes a more vernacular approach, learning the music of their predecessors by ear, straight off the record, and then revising it in practice. If Sonic Youth cultivated a certain reverence for the ancestors, Deerhoof seems both more skeptical and less respectful—a measure, perhaps, of how the last twenty years have affected our relationships to the modernist projects of futures past.

Benjamin Piekut, September 2020

The Machine that Kills Bad People (1948/1952) and All Screwed Up (1974) @ 1630 EST/2130 UTC/2230 CET tonight for Death and Dismemberment Thursday! We start in about 6 hours!

It’s the first Blorp of 2026! Join us! As always, please let me know if you’d like on or off the pinglist.

Can we not drag disabled people while we’re talking shit about the Romanovs please? People with hemophilia got their own genocide in the 80s.

In Bruges (2008) is over, The Third Man (1949) is about to begin! https://blorp.bot.nu/o/visual_cuisine

In Bruges (2008) and main event The Third Man (1949) right now on https://blorp.bot.nu/o/visual_cuisine ! Join us!

Blorpmas is real! As always, please let me know if you want on or off the pinglist.

Food for thought: is The Third Man (1949) a christmas movie too? We’re having a Stuck In European Limbo night tonight. Here’s to many more collaborations!

In Bruges (2008) and main event The Third Man (1949) in 7 hours on https://blorp.bot.nu/o/visual_cuisine

Blorpmas is real! As always, please let me know if you want on or off the pinglist.

Does the Zootopia abortion comic (and the sequel where JFK gets assassinated) predate this copypasta?

I think this is the “guy in /r/cth who really wanted to fuck Judy Hopps” copypasta. Those were simpler times.

We start in 10 minutes! Join us! https://blorp.bot.nu/o/visual_cuisine

As always, let me (or cud!) know if you would like to be added to or taken off from this list.

Fairytale fucking town. How can fucking swans not be someone’s fucking thing?

I might show this for Christmas…

They should be honored to be having dinner with Peter Falk tbh

Decasia (2002) just wrapped up, Schizopolis (1996) is about to begin! https://blorp.bot.nu:8443/o/visual_cuisine

Spiritual dismemberment begins now! Decasia (2002) and Schizopolis (1996) @ https://blorp.bot.nu/o/visual_cuisine Join us!

Insert that Sartre quote about the glibness of anti-Semites here. The lives of people you consider subhuman get treated with the respect you give people you don’t believe deserve respect get. Which is to say, none. To me it’s less “tee-hee we did an oopsie-poopsie” and more “your life doesn’t mean shit to us and we’re going to make your murder a cute little joke for the boys down at the station to laugh about”.

We can add you to our pinglists if you like! Not sure what’s playing after I do mine tonight but the action starts at ~1700 EST and continues past midnight every night.