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Ass, Dancing, and Drone: The /vp/ Music Challenge PICK ONE OR TWO TYPES BASED ON WHAT MUSIC YOU LISTEN TO THE MOST! Be honest, even if it hurts not everyone has a super-badass type combo NORMAL FIGHT ROCK punkihardcore punk adult co ntempora post rock psych/space roc ardcore/emo pos showtunes/novelt math rock/metalcore prog/krautrock glamfunk rock emo-poplcrunkcore musical comedy/mashup youtube/cover bands aluindie rook GHOST STEEL FAIRY post-punk goth drone industrial een pop/boy bands shoegazel dream pop dance pop/K-pop noise/loWercase noise rock/noise pop modern classical/minimalism Hpop/shibuya-kei ethereal/darkwave serialism/musique concrete eurobeat/happy hardcore avant-gardelpost-minimalism bitpop/bubblegum bass witch house/cloud rap POISON DRAGON BUG Classicalchora drum'n'bass/jungle electro/electroclash dm/drill'n bass uk garageluk bass medieval renaissance dubstep/wonky chamber orchestral hardcore/breakbeat bient/broken bea opera/operetta uke/footwork p-hop/grime kuduro/gqom neo Classica DARK ICE WATER. new wave/synth po house/techno minimal/coldwave funk/disco alt/nu-meta hlllwavelcity pop down tempolchillout grindcore/djen chiptunes/synthwave aporwavel future funk noisecore/powerviolence dungeon synt alearic/tropical house GROUND FLYING GRASS Stoner rock/grunge jazz/ragtime folk/blues slowcore/post-rock big band/swing country/bluegrass raditionalworld usion/nu-jazz heavy/doom metal black sludge meta gospel/vocal jazz nature/field recordings drone/post-metal chamber/baroque pop FIRE PSYCHC ELECTR girl group/beat music hip hop/beats ambien Unew age ouIAr&b eggaelska trance/dream trance jangle pop/indiepop ounge/cocktail music dancehall/reggaeton ritpop/power pop cumbia/digital cumbia aggylmadohester bra USIC GLITCH SHADW glitch/aleatory hauntology power electronics apanoiselwa Sound collage neofolk Olse determinacy danger music ape music electroacoustic eath industrial radio plays plittercorelextratone free improvisation number stations What kind of gay ass pokemon are you?
Ass, Dancing, and Drone: The /vp/ Music Challenge
 PICK ONE OR TWO TYPES BASED ON WHAT
 MUSIC YOU LISTEN TO THE MOST!
 Be honest, even if it hurts not everyone has a super-badass type combo
 NORMAL FIGHT ROCK
 punkihardcore punk
 adult co
 ntempora
 post rock
 psych/space roc
 ardcore/emo
 pos
 showtunes/novelt
 math rock/metalcore
 prog/krautrock
 glamfunk rock
 emo-poplcrunkcore
 musical comedy/mashup
 youtube/cover bands
 aluindie rook
 GHOST STEEL FAIRY
 post-punk goth
 drone industrial
 een pop/boy bands
 shoegazel dream pop
 dance pop/K-pop
 noise/loWercase
 noise rock/noise pop
 modern classical/minimalism Hpop/shibuya-kei
 ethereal/darkwave
 serialism/musique concrete
 eurobeat/happy hardcore
 avant-gardelpost-minimalism bitpop/bubblegum bass
 witch house/cloud rap
 POISON DRAGON BUG
 Classicalchora
 drum'n'bass/jungle
 electro/electroclash
 dm/drill'n bass
 uk garageluk bass
 medieval renaissance
 dubstep/wonky
 chamber orchestral
 hardcore/breakbeat
 bient/broken bea
 opera/operetta
 uke/footwork
 p-hop/grime
 kuduro/gqom
 neo Classica
 DARK ICE WATER.
 new wave/synth po
 house/techno
 minimal/coldwave
 funk/disco
 alt/nu-meta
 hlllwavelcity pop
 down tempolchillout
 grindcore/djen
 chiptunes/synthwave
 aporwavel future funk
 noisecore/powerviolence dungeon synt
 alearic/tropical house
 GROUND FLYING GRASS
 Stoner rock/grunge
 jazz/ragtime
 folk/blues
 slowcore/post-rock
 big band/swing
 country/bluegrass
 raditionalworld
 usion/nu-jazz
 heavy/doom metal
 black sludge meta
 gospel/vocal jazz
 nature/field recordings
 drone/post-metal
 chamber/baroque pop
 FIRE PSYCHC ELECTR
 girl group/beat music
 hip hop/beats
 ambien Unew age
 ouIAr&b
 eggaelska
 trance/dream trance
 jangle pop/indiepop
 ounge/cocktail music
 dancehall/reggaeton
 ritpop/power pop
 cumbia/digital cumbia
 aggylmadohester
 bra
 USIC
 GLITCH SHADW
 glitch/aleatory
 hauntology
 power electronics
 apanoiselwa
 Sound collage
 neofolk
 Olse
 determinacy
 danger music
 ape music
 electroacoustic
 eath industrial
 radio plays
 plittercorelextratone
 free improvisation
 number stations
What kind of gay ass pokemon are you?

What kind of gay ass pokemon are you?

Black Lives Matter, Black Lives Matter, and Books: 29 July has been working to create a space for queer nightlife and gende For example, if you're non-Black and performing a Black artist's song, are expression through drag for the past 8 years. With the exception of its first you lipsyncing slang or Black-specific experience or history? What few months, the event has been run primarily by myself a white message are you trying to give with this performance? We often encounte settler queer with limited understandings of race politics, and the man more complex and nuanced situations, that we e don't feel we can properly ways that quee specifically white quee spaces and performance can appropriately respond to as primarily white organizers (eg. a non-Black and do perpetuate different forms of oppression ncluding me ishing to perform a Black artis song, or a white performe r wanting white artist who themselves specifically has been called out over the years for both performing and to perform a song by a borrows from Black booking numbers that expressed forms of cultural appropriation. Only a few culture, such as Justin Timberlake We've been forming connections and h some QTBIPOC folks in the community, such as years ago did start to listen to these critiques. This post w outline a bit of relationships wit our history, some actions we've taken over the years, and what we're doing I of Black Lives Matter who have made now to try and make our event more safe, accessible, and stand in themselves available for guidance in these cases, and they're paid for this solidarity with QTBIPOC work When first began, some senior drag kings in the group Earlier this year, we e participated in conversations led by some queer Blac to folks from the community. and some name a few shared knowledge from workshops, experiences, and other queer settler event organizers, includingl with the intent and music, and don't feel conversations on the topics of race and drag (eg to address how our events consume Black art conferences) understood the subject so far as to make a welcoming for Black people. We began to realize how much of rule that aesthetic expressions of cultural appropriation eg. teeth grills from how drag traces its roots to Black and Latinx queer communities of afro wigs, Native headdresses would not be permitted onstage at Man Up esistance, to the majority hip hop and R&B music that's played during the dance party has been built upon the contributions made from these n 2012, l was called out by a white queer from the commun ty for hich are so often whitewashed and silenced in our broade Communities performing drag and lip-syncing to a rap song. They sustained an ongoing gay scenes. One of the outcomes from these conversations was the dialogue with me about cultural appropriation, and through conversation hereby $1 from every song by a Black creation of a Black solidarity fund and research, I began to gain a better understanding mplemented a artist played at was donated to a discussion group of Black rudimentary screening process fo performances, which and allied quee We hadn't yet implemented this practise a but established a general rule that white performers wouldn't be allowed to e'll be donating retroactively for each of our events since adopted th perform songs by Black and Poc artists. practise, to Black Lives Mattel There's some estimating hile this screening process helped, it w as not enough We continued to nvolved, but from DV's calculation of 80% Black music from one of the get c all outs for appropriative performances. Over the next few years cent parties, and about 4 hours of DJ play time per we calculat through dialogue wit hin our group and with folks in the community, and $400 to be donated from our February-June events). We'r implementing stening to feedback when problematic material would end up on stage. his $1 per song practise for futur events too, starting this Pride have refined the screening process. We continue to update it to reflect new weekend experiences and commun critiques. Ou current version asks questions hat is the narrative of the song? How are you reinterpreting it? Are ke you impersonating the artist directly? Does your number warrant any trigge r warnings? Is the way you'll perform it appropriate to your identity? Why i stopped going to queer events. They are rife with this insanity.
Black Lives Matter, Black Lives Matter, and Books: 29 July
 has been working to create a space for queer nightlife and gende
 For example, if you're non-Black and performing a Black artist's song, are
 expression through drag for the past 8 years. With the exception of its first
 you lipsyncing slang or Black-specific experience or history? What
 few months, the event has been run primarily by myself
 a white
 message are you trying to give with this performance? We
 often encounte
 settler queer with limited understandings of race politics, and the man
 more complex and nuanced situations, that we
 e don't feel
 we can properly
 ways that quee
 specifically white quee
 spaces and performance can
 appropriately respond to as primarily white organizers (eg. a non-Black
 and do perpetuate different forms of oppression
 ncluding me
 ishing to perform a Black artis
 song, or a white performe
 r wanting
 white artist who themselves
 specifically has been called out over the years for both performing and
 to perform a song by a borrows from Black
 booking numbers that expressed forms
 of cultural appropriation. Only a few
 culture, such as Justin Timberlake
 We've been forming connections and
 h some QTBIPOC folks in the community, such as
 years ago did start to listen to these critiques. This post w
 outline a bit of
 relationships wit
 our history, some actions we've taken over the years, and what we're doing I
 of Black Lives Matter
 who have made
 now to try
 and make our event more safe, accessible, and stand in
 themselves available for guidance in these cases, and they're paid for this
 solidarity with QTBIPOC
 work
 When
 first began, some senior drag kings in the group
 Earlier this year, we
 e participated in conversations led by some queer Blac
 to
 folks from the community.
 and some
 name a few
 shared knowledge from workshops, experiences, and
 other queer settler event organizers, includingl
 with the intent
 and music, and don't feel
 conversations on the topics of race and drag (eg
 to address how our events consume Black art
 conferences)
 understood the subject so far as to make a
 welcoming for Black people. We began to realize how
 much of
 rule that aesthetic expressions of cultural appropriation eg. teeth grills
 from how drag traces its roots to Black and Latinx queer communities of
 afro wigs, Native headdresses would not be permitted onstage at Man Up
 esistance, to the majority hip hop and R&B music that's played during the
 dance party has been built upon the contributions made from these
 n 2012, l was called out by a white queer from the commun
 ty for
 hich are so often whitewashed and silenced in our broade
 Communities
 performing drag and lip-syncing to a rap song. They sustained an ongoing
 gay scenes. One of the outcomes from these conversations was the
 dialogue with me about cultural appropriation, and through conversation
 hereby $1 from every song by a Black
 creation of a Black solidarity fund
 and research, I began to gain a better understanding
 mplemented a
 artist played at
 was donated to a discussion group of Black
 rudimentary screening process
 fo
 performances, which
 and allied quee
 We hadn't yet implemented this practise a
 but
 established a general rule that white performers wouldn't be allowed to
 e'll be donating retroactively for each of our events since
 adopted th
 perform songs by Black and Poc artists.
 practise, to Black Lives Mattel
 There's some estimating
 hile this screening process helped, it w
 as not enough
 We continued to
 nvolved, but from DV's calculation of 80%
 Black music from one of the
 get c
 all outs for appropriative performances. Over the next few
 years
 cent parties, and about
 4 hours of DJ play time per
 we calculat
 through dialogue wit
 hin our group and with folks in the community, and
 $400 to be donated from our February-June events). We'r
 implementing
 stening to feedback when problematic material
 would end up on stage.
 his $1 per song practise for futur
 events too, starting this Pride
 have refined the screening process. We continue to update it to reflect new
 weekend
 experiences and commun
 critiques. Ou
 current version asks questions
 hat is the narrative of the song? How are you reinterpreting it? Are
 ke
 you impersonating the artist directly? Does your number warrant any
 trigge
 r warnings? Is the
 way you'll perform it appropriate to your identity?
Why i stopped going to queer events. They are rife with this insanity.

Why i stopped going to queer events. They are rife with this insanity.