Category: Poeaxtry’s Open Shelf

Curated collection of spontaneous essays, creative explorations, prompt responses, political takes, minority highlights, cultural reflectons, spirituality, indie and small business shout-outs, and more.

  • Washed Away; Many Years of Love & Labor – One Crooksville Family’s Heart-wrenching Loss:

    Washed Away; Many Years of Love & Labor – One Crooksville Family’s Heart-wrenching Loss:


    Best For:

    Literature enthusiasts drawn to deeply personal stories about small town families facing extraordinary circumstances, individuals active in mutual aid or community-led disaster relief, readers interested in the intimate human stories that exist behind major disasters, & people looking for meaningful ways to support a family rebuild their lives after sudden loss.

    The Essence:

    Read Time: ⌚️ 7 minutes | Weight: 🚨Heavy | Mood: 🌧️ Somber, intimate, & resilient|

    A mol bucket on wooden floors covered in mud from the flooding.

    The Vault:

    • A home filled with almost thirty years of love & family history swallowed by more than five feet of floodwater.
    • Two people who built their golden years in Crooksville, Ohio, & watched two generations of family grow here.
    • A Kentucky farmer, his lifetime of work, & the home that held the memories of his family.
    • The devastating uncertainty of a beloved dog that went missing during the flooding.
    • What remains after the water recedes? Find out how individuals can help so they can begin again.
    A homes flooded mud caked hallway after the historic flooding in Crooksville, Ohio.

    When the Water Came Up:

    Flood waters can turn a familiar place into something almost unrecognizable in a matter of hours if not minutes. Water is insanely dense if you didn’t know. When you consider the constant movement of flood waters you’ll find that ankle-deep water can sweep you off your feet, and knee-deep water can carry your car away you see the force it brings when it rises.

    For these small town grandparents, the flooding did far more than damage their family home and fracture their security. When the water started rising they probably figured this would be a flood like the ones they typically get; they were unaware of the over 5 feet of water that would soon rob them of many things.

    This was the same house they purchased for their golden years, the same community where they chose to spend the best years of their lives, and the same area where their family continues to put down roots. Their grandchildren were raised here and now their great-grandchildren stomp the same yards. Decades of their family history were held in this house.

    This loss they are faced with is a part of a much larger story unfolding across the region as communities deal with flooded homes, evacuations, rescues, destruction, and the difficult days that follow natural disasters. Every flooded street holds people trying to figure out what comes next.

    For this family, that realization is especially painful. They are facing the loss and destruction of the place that held just shy of thirty years of their lives, while also dealing with the heartbreaking loss of their beloved senior dog.

    Let’s head back to the storm that caused the water to rise, when a familiar kind of flooding became something far more devastating.

    A look at the flooring being ripped up in a Crooksville, Ohio home.

    The Derecho-

    Where the Storm Went:

    On August 11th, 2026, this system covered an enormous stretch of the country, starting in eastern Iowa before working its way across Illinois, Indiana, and Michigan before making its way into Ohio. After leaving Ohio the storm cell continued through Kentucky, Pennsylvania, West Virginia, Virginia, the Carolinas, and ended up reaching as far south as Georgia. Though the derecho classification applies only to the part of this system that went through Iowa, Indiana, and Ohio.⁠

    This wasn’t just your average end of summer thunderstorm. It was part of a massive line of storms which had already traveled hundreds of miles and would still travel hundreds more.

    The National Weather Service’s Storm Prediction Center has preliminarily classified the storm system as a derecho. To be classified a derecho a storm must:

    • have a wind damage path of at least 240 miles
    • feature wind gusts of at least 58 mph along most of its length
    • include several concentrated clusters of 75 mph or greater gusts

    The storms that ripped through Ohio were a long-lived, organized line of thunderstorms that produced widespread, destructive straight-line winds. These storms differ from tornados, which concentrate their strongest winds into a relatively narrow path. This is why a derecho can keep pushing forward for hundreds of miles, leaving damage spread across a much larger area.

    This cell was not gentle along the way, producing wind gusts that reached 97 to 99 mph in parts of the Midwest. Ohio even recorded an 82-mph gust in Columbus. Trees came down, telephone poles snapped in half, and power lines tangled across roads and neighborhoods. At the height of the storm, more than 800,000 customers across the affected region were without electricity, including more than 200,000 in Ohio.

    Wind wasn’t the only thing this storm brought with it that caused concern.

    As the system pushed into Ohio, it unloaded the same kind of torrential rainfall it had already gifted Indiana and Iowa. Southeastern Ohio was already in a bad position with ground conditions saturated, waterways rising, and rainfall coming faster than the land or drainage systems could handle.

    When the water started moving, Perry County, Ohio, was hit particularly hard. Flash flood emergencies were issued as water rapidly covered roads, entered properties, and almost submerged others.

    State of Emergency:

    Emergency crews began conducting water rescues as people became trapped in homes, businesses, and vehicles. The roads that people used to get around their communities were suddenly engulfed in rushing water, making an already dangerous situation even harder for rescuers to navigate.

    Crooksville was one of the small Ohio villages caught in the thick of it. The area saw floodwater rise so rapidly that many people were forced to evacuate. A shelter that opened for people who could no longer safely in their homes. Nearby communities, including Roseville, were also dealing with the same rapidly changing conditions.

    The flooding became serious enough that Governor Mike DeWine declared a state of emergency for Perry and Muskingum counties and deployed the Ohio National Guard to assist with searches, rescues, and evacuations.

    This storm not only knocked out power, ripped down trees, and produced destructive winds, it also spawned tornadoes, and dumped enormous amounts of rain across its path.

    One of the worst parts of this storm was what was rising from the ground or out of the creek beds, and would eventually rob families of their homes, vehicles, and pets.

    A look inside a living room from a home devastated by flooding in Crooksville.

    Twenty-Six Years of Sunshine:

    Roughly twenty-six years ago, the established couple came to Crooksville with the a small dream and lot of hope. Their goal was one many people share, after a lifetime of working the land: to spend their golden years loving the family that grew from their love.

    They chose Crooksville, Ohio for the peace and quiet. They were able to see their grandchildren grow up on this land, and now great-grandchildren, giving the family even more reasons to stay connected to the place they had chosen all those years ago.

    Their home became a cedar-chest that held all of it. A home where ordinary days became family memories; holidays, birthdays, cookouts, arguments, laughter, quiet mornings, and all the little moments that don’t seem important until they’re torn apart in front of you.

    There were things in that house that wouldn’t mean much to a stranger walking through. Photographs holding children now grown and family no longer here, tucked away photo albums and saved mementos from far off places holding the memories as if they happened yesterday. The ordinary objects that quietly accumulate when a house becomes a home.

    Twenty-six years is a long time to stay put, but that happens when you put down roots.

    In that many years a house will become familiar to you in ways you don’t consciously notice anymore. You know which door sticks, where the floor creaks, what handle wiggles, and the way your family looked while filling the rooms over the years. You stop thinking about the walls as walls, as they become one of the main scenes in your life.

    Beyond the house itself was the community they had spent almost three decades becoming part of. Where they came with a plan and a goal; they succeeded just to watch it all but wash away.

    They did not just live in Crooksville for twenty-six years, they built their life, nurtured their roots, and watched those roots grow their family tree.

    In a matter of hours, floodwater tore through everything they spent their life building.

    Twenty-six years of building a life cannot be replaced simply by finding another house. A new roof can be put over someone’s head. Walls can be rebuilt. Furniture can be replaced. But the years that happened inside those walls, the history attached to the place, and the feeling of having finally put down roots somewhere permanent are not things you can simply buy back.

    And that is what makes the aftermath of this flood about far more than property damage.

    A look through a kitchen in Crooksville, Ohio after the historic flooding.

    How You Help:

    The family has an established go fund me set up and any funds raised will help them begin rebuilding their home. Renovations will include things like redoing the flooring and repairing the duct work that was destroyed by the historic flooding.

    The couple doesn’t have home insurance and simply do not have the financial means to cover these major repairs on their own. These flood waters have devastated their family, and they do not know where to go from here.

    Their grandchildren are asking for community support because their grandparents are the kind of people who have spent their whole lives helping others. They are caring, supportive neighbors who would give the shirt off their back to someone in need. So please if you are able to give, share, or keep them in your thoughts, it would mean so much to their family.

    Any support will help them take the first steps toward rebuilding their home and their lives.

    GoFundMe.

    A kitchen after flood waters came through Crooksville, Ohio.
  • Are We All the Once-ler?  Why The Lorax Still Matters:

    Are We All the Once-ler? Why The Lorax Still Matters:


    Best For:

    Readers who enjoy media analysis beyond surface-level themes, individual aligned with environmental advocacy, nature lovers, and anyone who has ever wondered whether ambition and stewardship can coexist.

    The Essence:

    Reading Time: 🕰️ 10 to 14 minutes | Weight: 🥊 Heavy | Mood: 🌹 Reflective, Thought-provoking, & Hopeful with bittersweet undertones

    From below looking up photo shows sunlight through tree tops, a rock wall, and the forest around it.

    The Vault:

    • Environmental stewardship
    • Creativity vs. consumption
    • Corporate greed
    • Hope & Human potential
    • Personal reflection & Media analysis

    “I know it may seem small and insignificant, but it’s not about what it is, it’s about what it can become. That’s not a seed, any more than you’re just a boy.”

    – The Once-ler

    Read If You Enjoy:

    • Reflective essays
    • Nature in writing
    • Symbolism in media
    • Children’s stories with adult themes

    I’m The Lorax, I Speak for the Trees:

    I finally watched The Lorax for the first time, the other night and somewhere between the Truffula Trees and the songs, I realized I had spent years avoiding a beautiful story that I align with immensely because of my own views and standpoint in relation to Dr. Seuss.

    For a moment, I even caught myself wondering what it would be like to be the Once-ler. I don’t agree with what he became; I understand where he started.

    A man who dreamed of building something. He saw possibility where everyone else saw nothing. As a person who spends countless hours writing, creating, and trying to grow something meaningful, that part feels familiar.

    Almost immediately I came to see that No… I’m definitely more like The Lorax. I can’t seem to stop caring about the living things like the trees who cannot speak on their own behalf.

    I feel that’s what this story has always been about.

    People.

    a look through the trees at the Wetland area, I am The Lorax, I speak for the trees.

    Is there a Little Once-ler Inside Each of Us:

    I think one of the biggest reasons The Lorax has survived generations is because the Once-ler isn’t introduced as a monster.

    He’s curious and inventive. He’s even ambitious and charming dare I say. None of these things are flaws. In reality they are some of humanity’s greatest strengths.

    Think about it everything ever invented and the companies that started them didn’t just form out of a vacuum.

    The shows you watch, the books you read, and even the content you consume on social media from your favorite creator all began somewhere small.

    “Don’t get bigger than your britches.”

    – Many Appalachian Mothers

    Every movement, act of advocacy, small breath of change, and dream begins with someone imagining what they could grow from it.

    As creatives, that’s our job. We are called to imagine futures that don’t yet exist. The tragedy isn’t even that the Once-ler dreamed too big.

    Somewhere along the way, his dream stopped including the forest that made any of it possible. The Once-ler’s goal became the growth of his company instead of the byproduct.

    That shift was so subtle; it was almost terrifying. This isn’t your everyday average villain.

    Two small blue and white flowers up close and slightly out of focus growing in a dense green forest.

    There’s The Lorax:

    The Lorax has always been painted as the environmental conscience of the story. I don’t think that’s all he represents. Is he not the voice asking the questions no one wants to hear or answer?

    • Who’s paying the price?
    • What are we losing?
    • Is this actually worth it?

    I don’t think the Lorax hates innovation. He just doesn’t want us to forget what matters. It seems as if he doesn’t want those without a voice to suffer because they can’t speak up.

    • Trees
    • Flowers
    • Waterways
    • Fungi
    • Native Mammals, Amphibians, Fish, and other wildlife

    As someone who spends a lot of my time hiking through forests and encouraging others to experience these places respectfully, I can’t help but laugh at the line…

    “I speak for the trees.”

    – The Lorax

    It’s funny and also strangely accurate. Trees don’t have lobbyists, and streams don’t get a vote. Wildflowers don’t get to argue for their survival.

    When’s the last time you asked a bear to share a plot of land?

    Did you take the bee’s honey without permission? I bet you didn’t even thank him…

    Someone has to care enough to speak anyway.

    At Forest covered in fog. Photo shows a look through spring growth trees and rocks into the fog covered forest.

    Someone Like You:

    If you ask me the most important lines ever written in children’s literature as of yet…

    “Unless someone like you cares a whole awful lot, nothing is going to get better. It’s not.”

    – The Lorax

    Most children, I’d assume, think it means to start planting trees. Watching it as an adult for the first time, I think it’s about refusing apathy. Let’s face it, nothing will improve if everyone assumes someone else will fix for them.

    There are relationships that never heal because nobody wants to have difficult conversations. We all know other conversations never happen because people assume someone else will speak up.

    Art disappears when nobody thinks it’s worth preserving.

    The best part is that this sentence never promises success or failure. It just reminds us that caring is where change begins.

    Without someone caring nothing can happen.

    Trees and branches grow over the trail creating a canopy

    Not a Seed:

    The quote that hit me harder than anything else in the film:

    That isn’t really about Ted or the seed. It’s about their potential. All the forests in the world had to begin as something tiny.

    Just like every movement starts with one person and every poem started as a blank page. All our friendships began with two strangers and everyone’s life begins with possibilities no one else can see.

    The world spends so much time measuring people by what they are today. Yet The Lorax reminds us to consider what they can still become.

    Budding pink blossoms yet to open in a lush forest growing in a bush in the early spring.

    The Question the Movie Leaves:

    I don’t think The Lorax asks us to choose between The Lorax and the Once-ler; I think it asks us to recognize both inside ourselves.

    The creator and the protector. The dreamer and the conscience.

    The challenge isn’t avoiding ambition; it is refusing to sacrifice everything meaningful in pursuit of it. Success without stewardship eventually destroys the very thing that made success possible.

    Looking Around the World Today:

    Watching the movie in 2026 feels different than I think it would if i were younger. The author understood something timeless. Human beings have always wrestled with the same question.

    How much are we willing to trade for convenience, wealth, and growth Sometimes we answer wisely; though looking around it sometimes seems like most times we don’t. Every generation inherits that question and they all answer it differently.

    Maybe That’s Why I Keep Coming Back to Nature:

    Every trail I hike exists because somebody cares. At one point someone stood up and protected the land. Later on others maintained the path. People advocated for the green-spaces long before I ever arrived.

    The waterfalls, wildflowers, old-growth trees, salamanders hiding beneath logs, and quiet stretches of forest are not here by accident. They are all reminders that caring leaves evidence that remains long after we’re gone.

    white flowers grow in tall grass in front of the tree line.

    Timeless Children’s Media:

    I do not see The Lorax as a story about trees; It is closer to a story about responsibility and balancing ambition with stewardship.

    The Lorax reminds us that growth means very little if we destroy everything that allows us to grow. And maybe we’re all a little bit of the Once-ler.

    I know I can be; I dream big.

    I wish for my words to reach people.

    The difference is that every time I lace up my hiking boots, stop to admire a wildflower, or encourage someone to leave a place better than they found it, I help the Lorax speak just a little louder.

    The forests do not need people who can build. They need people to remember why they matter.


    TLDR:

    The Lorax isn’t just a story about environmentalism. It’s about the tension between ambition and responsibility.

    The Once-ler reminds us that dreams can become destructive when growth matters more than stewardship. While The Lorax reminds us that caring is never insignificant.

    Whether it’s protecting a forest, nurturing a relationship, creating art, or standing up for a cause, meaningful change begins with someone deciding that indifference isn’t an option.

    After all…

    “Unless someone like you cares a whole awful lot, nothing is going to get better. It’s not.”


    Read More:

    Dr. Seuss. Sustainable Hiking. Money Talks.
    Penguin Random House. Illumination Entertainment.

  • Kitchen Table Chaos to Concrete Crafty Sanctuary: The Anatomy of My Altar-

    Kitchen Table Chaos to Concrete Crafty Sanctuary: The Anatomy of My Altar-


    Best For:

    Beginner Pagans & Wiccans building their first altar, readers interested in the why behind a spiritual altar, individuals interested in Pagan Eclectic Practices.

    The Essence:

    Read time: ⏰ 15 mins | Weight: ⚖️ Reflective| Mood: 🌿 Grounded, Inspiring, Sacred|

    A far off view of Axton’s altar and workspace showing the entire area.

    The Vault:

    • Why putting you in your Altar is a Must & Why my spirituality meets creativity.
    • The Hiking Altar, The Working Altar, The Tool Stand,
    • Key Terms to know: Altar, Essence, Ritual, & Book of Shadows
    • The colors meaning in Wiccan practice for purple, white, and black altar cloths.

    Making Sure Your Space is More You:

    If your like me before my fiancé and I moved then you know what it’s like to have your creativity fighting for space with the seasonal storage in the garage.

    In a house where the kitchen table fits better in your workspace, your collections, spiritual space, and your creativity all end up in a fight for room on that kitchen table. This may keep your energy fragmented, if you’re like me.

    After all, you are not just building a studio, remember you are building your manifesto. If your essence is not present inside your altar, spiritual work, or your craft, your work has no emotional core.

    A look from the top down at Axton’s working altar and hiking altar.

    It cannot breathe life into anything, if it doesn’t even know who or what it comes from.

    You. You. You:

    It is time to stop keeping your painted portraits in your art stack and start hanging them in your own space.

    You should know that putting yourself in your altar is one of the most important acts of the craft.

    When you curate a space, you are creating a resonance chamber. You are not just organizing stuff. You are anchoring your essence into the physical world so that your intent can actually manifest.

    If you are absent from your own altar, you are merely decorating. By placing your own essence…

    your portraits, your specific memories, your hiking finds…

    You are acting to transform a shelf into a focal point for your own power. You are saying, “I am here. This is the center of my world.”

    Another view of the workspace Axton has created for his spirituality and creativity to coexist.

    The Hiking Altar: The Anchor of Energy:

    For me it all starts at my hiking altar. This is where you find the absolute essence of me.

    It acts as a topographic map of the miles I have walked since October 2021. This is a space is heavy with memory and growth. I have added bird’s nests, antlers, bones, fossils, stones, shell casings, and more over time as my collection has evolved.

    Of course I have also included pamphlets from the specific trails I have conquered. As well as horoscope & crystal booklets, deity & fairy pictures all of which guide my path.

    My more recent additions include fairy statues and a mix of American and foreign coins. Which I’ve also found over my treks.

    You must anchor your altar in something that proves you have lived. By keeping these found items and gifted tokens here, I am not just storing objects. I am creating loop between my hikes, creative output, and spiritual journey.

    This serves as a monument to my experiences and is a place where I hold my energy and as well as grief. It is the center of my altar for a reason. Everything else grows out from this place.

    A close up view of Axton’s hiking altar.

    The Working Altar – Ritual, Reading, & Memory:

    In front of this, the main altar area, sits a big, comfy chair. This is the place where I like to work. The table itself is covered in a purple, white, and black cloth for a very specific reason, tied to meanings of color.

    • Purple: deeply linked to the Crown Chakra, which is considered the gateway to enlightenment, universal connection, and spiritual wisdom.
    • White: the color of clarity, used to “reset” a space or an object so it can be used for new intentions.
    • Black: a “heavy” shield. It is used to absorb, bind, and neutralize negative energy, toxicity, or unwanted influences. It acts as a sponge, taking in harmful vibrations so that they do not affect the practitioner.

    This is the boundary line for my ritual space.

    This is also where my Book of Shadows lives, along with my pendulum boards, my pendulum, and my rune stones.

    I keep a selenite charging jar here specifically for my pens and spoons or other small items.

    This table houses the stones from the Picture Rocks National Lakeshore stones from a trip I took with my partner, Kelsey. That was the same trip where we sprinkled my mother’s ashes. It is the one of the most sacred spot on my altar.

    My non-traveling deck of tarot cards and my pressed flower book from the Blue Ridge Parkway, Asheville, NC, the New River Gorge, and Hawks Nest 2025 trip also live here.

    A side vide showing the working altar, shelf, hiking altar and wall decor.

    Spirituality & Creativity:

    Why have my spiritual stuff so close to my creative things? There is no real separation for me.

    When I am crafting a windchime or polishing a stone for a a necklace, I am pulling the energy of these sacred objects into the work.

    Having my BOS, my runes, and my mother’s memorial stones right next to where I pour polish or grind a stone keeps my intent sharp. It reminds me that I am not just a person trying to make money.

    I am a crafter of sacred items, a rockhound in service to the land, and an eclectic pagan working in communion with the spirits of the places I’ve walked. Between this working altar and the hiking altar is a big, comfy chair where I spend a lot of time doing many different things.

    • Making wind chimes
    • reading cards or pendulum boards
    • doing spell work or ritual work
    • making necklaces or keychains
    • whatever it may be.
    Axton’s selenite charging jar, ingredient shelf, and moveable wet saw table.

    The Tool Stand – Un-Ritualized Labor:

    Then on the other side of my working altar is the stand for the gritty, necessary tools. This is where I keep my wood burner, Dremels, polishes, sandpaper, oils, and the heaters for the garage.

    I’m here to say honestly not every piece of your process needs to be ritualized.

    Sometimes, you just need an area to be functional. For instance maybe it’s a place to store the things you do not want to make sacred. This is the backbone of my workshop, it is what makes the ritual work possible.

    The shelf just keeps the mess away from the magic. A place for the things that provide the friction required for the transformation of raw material into a finished ritual object.

    Another view of my ingredient shelf rolling table and artwork made by Luna.

    The Production & Weed Table – Daily Necessities:

    On the other side of the working altar is a stand with pull-out cubes, topped with a picture Luna helped paint years ago. Next to it is a small rolling table, the center of daily necessity.

    The rolling table holds an ashtray with my roaches, a lighter, a grinder, and chapstick. I keep a mortar and pestle here and a tool for inspecting crystals.

    Underneath this table in the drawers are various materials I use to make spell bags, wreaths, and windchimes.

    This is the true alchemy of my small business and my spiritual practice. It is where the physical items come to life. By keeping my daily necessities alongside my spiritual tools, I acknowledge that the mundane is just as holy as the grand ritual.

    A view of the part of my altar for the person who is always by my side.

    The Shop Floor – Workflow & Logistics:

    My saw table is completely mobile. I move it outside when I need to cut, this is a move I made in order to keep the shop environment more clean. Above the saw is the new shelf for heart rocks, alongside the running rock tumblers.

    I have also had two cedar chests. One sits on the tumbler table hosting the non-running tumblers, while the other holds finished, non-delicate items, including tinctures, sprays, spells, cleaned fossils, and polished rocks. I also have an area dedicated to zines and flyers, with a shelf underneath for windchimes, wreaths, and other delicate finished pieces that cannot hang on my standard keychain holders.

    Rocks are kept throughout the room in various pots and boxes. Other polishes and supplies are stashed in the shelving near my rolling area. The floor is a living part of the shop, covered in rocks that have yet to find their permanent home.

    Another look at my altar

    Occupying the Space – The Final Manifesto

    I put up a skeleton, a trans flag, a mushroom flag, a weed flag, and rope lights to ensure the space felt more like me.

    I put portraits out, the ones my partner and I painted of each other, and anchored them with candles, heart rocks and a sign that reminds us that not all those who wander are lost.

    Putting yourself in your altar is the final step of the craft. When you stop hiding your paintings in your art stack and start hanging them under your own lights, you start telling the universe that your work belongs here.

    Your altar is your manifesto. Look at your floor and at the corners you have ignored.

    If you are still waiting for permission to build your own altar, you are already behind.

    Go out there and move the seasonal decor in your way.

    Make the space bleed with your own colors. You are the architect of your own sanctuary, and it is time to start building.

    The saw, weed, and zine area.

    TLDR:

    Figure out how Axton developed his spiritual and creative areas around his workshop and daily rituals.

    Put the you in your altar and learn why your essence is the one of the most important additions to your spiritual space.

    Realize not all spaces are for ritual functional things have their spaces and matter just as much.


    Read More:

    Altar. Moon Phase Cheat Sheet.

    Creating Your Altar.

    The Altar & How to Use it.


    Key Terms Defined:

    • Altar: a table or platform for the presentation of religious offerings, for sacrifices, or for other ritualistic purposes
    • Essence: what is uniquely ours in the divine/human alchemy gifted to us
    • Ritual: deliberate series of actions performed in a prescribed order to connect with nature, deities, or the sacred
    • Book of Spells: also referred to as a grimore or book of shadows, is a sacred personal journal used to store incantations, rituals, or instructions.

  • Before the Fireworks: Juneteenth a History of Refusal to Learn Repeatedly:

    Before the Fireworks: Juneteenth a History of Refusal to Learn Repeatedly:


    Best For:

    Readers looking for a historically grounded explanation of Juneteenth with cultural context, advocates looking for lived experience observations, those searching for articles that offer creative writing & history, individuals that need fact based context to use as a reference, history buffs, & educators.

    The Vault:

    • June 19, 1865 marks the enforcement of emancipation in Galveston, Texas
    • Reflecting on the delay between legal emancipation & real-world enforcement across Confederate territory
    • The observance began in Black American communities & continued for generations
    • Juneteenth the federal holiday

    Before We Pretend This Is New:

    Through things like my own experiences in life and in my own need to reeducate myself, the pattern that repeats through repeated racism is not subtle. Every year near Juneteenth the same repeated racist reactions show up again and again as if the holiday and the reason for celebration are without reason or brand new.

    People try to act surprised it is acknowledged, then move directly to questioning why it is a holiday as they frame it as unnecessary.

    A repeatedly used excuse is one to the tune of “we celebrate freedom on July Fourth” to undermine Juneteenth. Which ignores the clear reality behind the hundreds of years that African Americans lived between the two without any freedom or protections.

    In these same spaces, the conversation often shifts beyond confusion. There are moments where dismissiveness turns openly hostile, including racist responses. These only continue to prove my point that the issue is not lack of access to information, but resistance to acknowledging what the holiday represents.

    What stands out most is not that disagreements exist, but how predictable the cycle has been. The facts do not change year to year, but their reactions reset as if they were never given the ability to learn in the first place.

    Every year, Juneteenth arrives and will continue too. There is a clear difference between not knowing and refusing to learn.


    Texas Circa 1865 & Enforcement Gaps:

    On June 19, 1865, Union troops arrived in Galveston, Texas and announced that enslaved people were to be considered free. This was an action done to directly follow the Emancipation Proclamation of 1863, which had already declared enslaved people in Confederate states legally free.

    However, legal declaration did not mean immediate equal immediate enforcement, as we can see. The proclamation was dependent on Union military carrying out the oversight. Though a lot of the regions like Texas were left to wait on Union Troops which had not yet been implemented in all regions of the Confederacy.

    Texas remained one of the last places that slavery continued in practice well after emancipation had been declared. Juneteenth marks the moment that enforcement finally reached that region, closing the gap between law and reality at least on paper for nearly enslaved people.

    Communication delays, fragmented authority, and post-war instability all contributed to that delay in implementation.

    The Gaps:

    These gaps between legal declaration, enforcement, and the lived experiences in reality are the central reasons for Juneteenth’s need to exist. This is a more than worthy historical marker of a long systematic injustice that individuals can still feel the repercussions of.

    Juneteenth represents not just a date, but a delay in enforcement that shaped real human lives across time and region. This day is also celebration of the potential for an equality these individuals should have always had. the system failed to enforce freedom, When the system failed them, the community had to step in and become the keepers of the history themselves.”


    Regional Observance & Cultural Continuity:

    Juneteenth did not immediately become a federally recognized holiday. The day’s historical events and everything stemming from them has, like many others things, preserved and sustained primarily through African American communities.

    Juneteenth was carried through family gatherings, church events, storytelling, and communal remembrance practices by primarily Texans from the date of the event all the way through much more recent years. It functioned as both historical memory and lived cultural education in spaces where this is rarely formally taught.

    The migration patterns shifted across the United States, during the great migration period especially, and other families moving to and from the state, the observance of Juneteenth spread. This created the ability for the new celebration to spread from the communities who preserved it.

    The truth of these historical events survived not by being dependent on institutions, but on cultural transmission across generations.


    Federal Recognition:

    In 2021, Juneteenth was finally able to become a federal holiday in the United States.

    This recognition did not move from local observance to federal holiday overnight. For generations, African American communities preserved the history and held many forms of celebrations. Long before federal recognition, Juneteenth was slowly gaining more recognition beyond those communities. Individual states began officially recognizing it, historians continued documenting its significance, educators incorporated it into lessons, and advocates spent decades pushing for broader acknowledgment.

    By the time federal recognition arrived in 2021, the foundation had been built over decades of labor by the very people who were previously denied the freedom being celebrated.

    Yet, we have to look at the reality of that recognition. When officials choose to grant a holiday while simultaneously ignoring the issues, stemming directly from the need for emancipation to begin with, one should wonder why.

    A personal copy of Black AF History, representing the actual labor of educating oneself on the history we were never taught including things like Juneteenth.
    Go read something & Learn what they didn’t say in most public schools.

    It is a performative gesture that rings hollow when the systemic conditions being “celebrated” are still being actively reinforced. Racism is rooted deeply in these answers, and while public acknowledgment of the holiday is finally catching up, the societal discord around it seldom even attempts to hide its blatant, racist points of view. They want the optics of the holiday without the mirror of the history.


    Independence Day vs Juneteenth:

    One of the loudest reactions that appears over and over near Juneteenth is the insistence that the Fourth of July already covers freedom, making Juneteenth unnecessary.

    What, excuse me?

    That argument falls apart the moment you look at the timeline of American History.

    The Fourth of July celebrates the nation’s independence in 1776. Yet the freedoms being celebrated were not equally experienced by everyone living within the country’s borders. Millions of enslaved people remained in bondage long after the nation’s founding and long after the language of liberty became central to the American identity.

    Juneteenth exists because freedom was not experienced all at once by every citizen the same.

    For African Americans, the promises associated with freedom arrived later, unevenly, and only after enforcement reached places where slavery continued in practice. That is what makes the comparison so revealing.

    A holiday celebrating national freedom rarely receives the same scrutiny from the people who question a holiday commemorating emancipation. The issue is not that the holidays are identical. The issue is that one commemorates an ideal while the other confronts the reality that the ideal was not extended to everyone at the same time. Another issue some face with this is it also points directly to their racism and some people hate mirrors.

    Understanding that difference is not an argument against Independence Day. It is an acknowledgment that American history contains both the declaration of freedom and the long struggle to make that freedom more broadly real.


    Equality Growth:

    Juneteenth marks the enforcement of emancipation in Texas on June 19, 1865, and the start of building a scope that shows clearly the reality of delayed freedom across the United States. Finally able to become a federal holiday in 2021 hundreds of years after the historical moment.

    Juneteenth exists as a historical record, celebration, and as factual proof to America’s systematic racism.


    TLDR:

    Juneteenth marks June 19, 1865 when emancipation was finally enforced in Galveston, Texas. It was enforced after the emancipation proclamation had been signed and represented the long-awaited legally enforced practice.

    The celebration began as community observance and spread across the United States over time. It was later recognized as a federal holiday in 2021.

    Juneteenth reflects clear proof of a gap between legal declaration and lived reality.

    Public reactions seem to repeat each year. Some people pretend they never had access to the information to learn from, some dismiss it, and some respond with hostility or confusion.


    Read More:

    National Archives – Juneteenth

    Smithsonian – Honoring Opal Lee The Grandmother of Juneteenth

    Franklin County Conservatory

    J.K. Rowlings World So Magical Equality Still Doesn’t Exist In It.

  • J.K. Rowling Racism Analyzing the Prejudice in the Wizarding World

    J.K. Rowling Racism Analyzing the Prejudice in the Wizarding World


    Best for:

    Social justice advocates, cultural critics, former J.K. Rowling fans, and media literacy educators.

    The Vault:

    • Core themes: media literacy, racial bias, representation, systemic prejudice, cultural appropriation, and accountability in storytelling.
    • Examines: naming conventions, ethnic stereotyping, coded imagery, and patterns of exclusion within fictional world-building.
    • Discusses: anti-Black, anti-Irish, antisemitic, Indigenous, and Asian representation critiques tied to the Wizarding World.
    • Explores: how fiction can normalize harmful narratives and why critical analysis of beloved media matters.
    • Best read when: you are open to questioning familiar stories and examining the politics hidden beneath nostalgia.

    The Cracks in the Wizarding World:

    For years, the Harry Potter series was heralded as a manifesto for the marginalized, centered on the fight against “blood purity” and institutional evils.

    However, as the creator’s public stance has shifted toward more overt forms of exclusion, a retroactive audit of the text reveals a disturbing foundation.

    That the J.K. Rowling racism controversies aren’t just isolated “marks” or social media blunders; they are a series of systemic choices in world-building that rely on lazy tropes, ethnic caricatures, and the “othering” of non-white identities.

    This post serves as a comprehensive breakdown, that works to accurately document why these patterns matter. As well as look at how they reflect a deeper, more insidious form of bigotry. By examining the naming of characters, the use of historical stereotypes, and the colonization of global mythologies, we can see how the franchise often fails the very people it claims to protect.


    The Power of a Name – Linguistic Negligence & Othering:

    In a world where names are supposed to be unique and magical, the naming of minority characters in the series often feels like a dismissal of their actual heritage. This is a primary pillar of the J.K. Rowling racism controversies. Where we see characters of color are often reduced to a single, poorly researched identity.

    The Shacklebolt Symbolism:

    One of the most glaring examples is Kingsley Shacklebolt. While he is one of the most capable and dignified Black characters in the series, his surname, Shacklebolt, is an unavoidable reference to the history of chattel slavery.

    In a series written by a white British author, giving the most prominent Black man a name that contains the word “shackle” is at best a massive failure of empathy. Though we should expect more from platformed authors and at worst this is a coded reminder of historical bondage.

    This serves to tether his identity to a history of trauma rather than allowing him the same neutral, whimsical naming conventions afforded to white characters like Dumbledore, Voldemort, or even Weasley.

    The Cho Chang Debate:

    Then there is Cho Chang. The name has become a global shorthand for “lazy naming.” By combining two common surnames. Especially when you consider that one is typically Korean and the other one is typically Chinese. Couple the multiple lineage with the fact she is using them as a first and last name we see that Rowling created a moniker that doesn’t actually exist as a standard name in either culture.

    This linguistic “mash-up” flattens the vast and distinct cultures of the Asian diaspora into a singular, “vaguely Eastern” caricature. It signals to the reader that these characters don’t require the same depth of research or cultural accuracy as their European counterparts.


    European Caricatures – The Irish and the Goblins:

    The prejudice in the series isn’t limited to far-off cultures; it is baked into the depiction of the UK’s own neighbors and historical “others.” These instances highlight how the J.K. Rowling racism controversies extend into ethnic stereotyping within the British Isles and beyond.

    Seamus Finnigan and the “Troubles” Trope:

    The character of Seamus Finnigan provides a subtle but pointed example of anti-Irish sentiment. In the film adaptations, which were overseen by Rowling, Seamus’s defining character trait is his propensity for things to blow up in his face.

    In the context of the 1990s and early 2000s, the “Irishman who blows things up” was a direct, insensitive reference to the “Irish Bomber.” These stereotypes were used to vilify the Irish during the their troubles. By turning a history of violent conflict into a “quirky” character flaw, the narrative trivializes the real-world suffering of the Irish people under British rule.

    The Gringotts Goblins & Antisemitism:

    Perhaps the most debated aspect of the J.K. Rowling racism controversies is the depiction of the Goblins. With their hooked noses, sallow skin, and obsession with gold and banking. We see use of the physical and societal descriptions of the Goblins to mirror medieval antisemitic tropes with uncomfortable precision.

    • Portrayed as a “secretive” and “untrustworthy” race that controls the money of the wizarding world.
    • They are legally barred from carrying wands, mirroring historical laws that barred Jewish people from certain professions and rights.
    • The visual language used in the films, including the Star of David on the floor of the Gringotts set (a real-world location), only served to solidify these connections in the public consciousness.

    The Colonization of Global Magic:

    As the franchise expanded into the Fantastic Beasts series, the J.K. Rowling racism controversies took on a more global, colonialist tone.

    Co-opting Indigenous Traditions:

    When Rowling released her “History of Magic in North America,” she was met with immediate pushback from Indigenous scholars. She took the Navajo legend of the “Skinwalker.” Which is a sacred and sensitive cultural tradition, and turned it into a mere “wizardry world” plot point.

    This is clearly more “Columbusing” of Native American culture. Where white people are seen taking what looks “cool” or “magical” while ignoring the living people and their history of genocide. This is a textbook example of cultural racism. One that treats Indigenous cultures as a “resource” to be mined rather than as sovereign traditions to be respected.

    The Subservience of Nagini:

    The reveal that Voldemort’s snake, Nagini, was actually a cursed Asian woman (played by Claudia Kim) added another “strike” to the list. The optics of a woman of color being a “pet” to a white supremacist villain. Then to only be decapitated by a white hero later, tapped directly into the “Dragon Lady” and “submissive Asian woman” tropes. She reinforced the idea that characters of color exist solely to serve the narrative arcs of white protagonists.


    The “Happy Slave” Narrative – The Double Entendre of the House-Elf:

    One cannot discuss the J.K. Rowling racism controversies without addressing the House-elves. This is where the narrative’s “double entendre” of slavery becomes most apparent.

    • Internalized Oppression: The narrative suggests that House-elves (with the exception of Dobby) actually want to be enslaved. When Hermione tries to free them through S.P.E.W., she is portrayed to be treating them as an annoying, “bossy” outsider who doesn’t understand that they “like” their work.
    • Justification of Bondage: This mirrors the historical pro-slavery rhetoric used in the American South, which claimed that enslaved people were “better off” or “happier” under the paternalistic care of their masters.
    • The Hogwarts Kitchens: The fact that Hogwarts is a place the reader is meant to love, but is powered by unpaid, enslaved labor. Then that labor is kept “out of sight” is a chilling reflection of how systemic racism and exploitation are often ignored. Especially when they are providing comfort to the privileged class.

    Marking the Strikes of Bigotry:

    In analyzing the J.K. Rowling racism controversies, it becomes clear that the Wizarding World is not the inclusive sanctuary many once thought it to be. Instead, it is a map of the creator’s own blind spots and prejudices.

    From the “shackles” of Kingsley, the “explosive” caricatures of the Irish, and the “greedy” tropes of the Goblins, the “marks” against this franchise are numerous and factual.

    By calling out these instances, we aren’t just “hating” on a popular book series; we are performing a necessary autopsy on the media we consume. We are identifying the “scars” of racism and ensuring that the next generation of storytelling doesn’t rely on the same tired, harmful tropes.

    True advocacy means holding even our favorite stories accountable to the truth.


    TLDR:

    This post works to examine the Wizarding World through the lens of media criticism and asks whether the racism critiques surrounding J.K. Rowling are isolated controversies or signs of deeper patterns within the text itself.

    By exploring character naming, historical stereotypes, cultural appropriation, and narratives around race and power, this breakdown argues that harmful ideas can exist even inside stories many people love.

    Holding media accountable is not about destroying nostalgia. It is about understanding what messages are embedded beneath it.


    Further Your Reading:

    Elon Musk J.K. Rowling

    Lund University

    NMU Commons


  • Mainstream Media Silence – Artists Like Peachkka & Doechii Fight Back

    Mainstream Media Silence – Artists Like Peachkka & Doechii Fight Back


    Best for:

    Survivors of systemic abuse, indie music fans who value deep activism, social justice advocates, and writers seeking to dismantle the “Epstein elite” narrative.


    The vault:

    • Systemic Reckoning: Exposing how mainstream media acts as a buffer for the “Epstein elite,” using curated silence to protect predators and maintain access to high-society power.
    • Sacred Mother Activism: Exploring Peachkka’sFertilizer” as a spiritual and visceral strike that reclaims authority for survivors and strips away the unearned status of “somebody” winners.
    • The Puppet Show Critique: Analyzing Earth To Eve’sTHREAT LEVEL ORANGE” as a tactical protest against the fascist structures and mainstream distractions that hide the “straw man” behind the curtain.
    • Platform Responsibility: Highlighting Doechii’s refusal to play it safe, using national award stages to stand for trans lives and bridge the gap between underground fire and industry defiance.

    The Empire Ran by Oppression:

    In a world where the Empire is built on curated silence and backroom deals, the most dangerous weapon is a voice that refuses to be bought. For way, too long, the mainstream media has acted as a buffer for the powerful, ignoring the names on the lists and the “twisted liars” at high-society dinners to maintain their own access.

    Never fear, the frequency is shifting. We are seeing a new wave of artists, some blowing up in the underground scene and others using their first major spotlights, to send a Sacred Fire through the structures that protected the Epstein elite.

    This isn’t a simple review; it’s a deep dive into the transmutation of rage. We are bridging the gap between the lo-fi invocations of Peachkka, the unfiltered protest of Earth To Eve, and the national defiance of Doechii. These artists prove that whether you are an underground artists in the woods or a “somebody” on an award stage, your responsibility remains the same: to act as a Sacred Mother to the oppressed and to turn the predators of the world into fertilizer for a better future.


    Peachkka Reclaiming the Sacred Mother:

    The song “Fertilizer” by Peachkka is a masterclass in independent activism. It’s a track that demands to be played on a loop, but not just for its infectious rhythm.

    It is a direct, visceral strike against the systemic rot of the Epstein elite. While the “somebodies” are terrified of losing their seats at the table, Peachkka is busy setting the table on fire.

    Removing the Blinders of the Elite

    The lyrics are a reckoning. By naming the “dinners” and the “winners” who built their empires on the backs of the vulnerable, she removes the blinders that the mainstream media works so hard to keep in place.

    • The Goal: To strip away the unearned status of predators.
    • The Result: Returning them to the dirt, where they finally serve a purpose as nutrients for growth.

    The Call for Divine Protection:

    Beyond the critique, Peachkka moves into a rhythmic invocation of protection. By calling upon “Sacred Mothers,” she is reclaiming a spiritual authority that has been stolen from survivors.

    This isn’t just music; it’s a shield. She is sending a frequency of safety to those who were hurt while the Epstein Elite Empire looked the other way.


    Threat Level Orange- The Unified Front Against Tyranny:

    When we look at Earth To Eve and the track “THREAT LEVEL ORANGE,” we see the same type of “underground” artist taking on a facelesssomebody.”

    These two artists are operating as a unified front against the same monster. If Peachkka is the spiritual fire, Earth To Eve is the tactical protest.


    Beyond the Puppet Show:

    The mainstream media often presents a “puppet show” of free speech while actively controlling what we are allowed to hear.

    Earth To Eve calls this out directly, addressing the “fascist puppet show” and the tyrants who expect us to bow.  

    • Mainstream Media Silence: They focus on the distractions to keep you from the truth.
    • Independent Artist Activism: They use the “Sacred Fire” to expose the “straw man” behind the curtain.

    The Doechii Standard- Using the Big Break to Throw Down:

    It’s one thing for an underground artists to scream into the void, but it’s another for an artist to reach the top and refuse to forget where they came from. Doechii has set a new standard for what it means to have a platform.

    Standing for Trans Lives on the National Stage:

    During the 2025 BET Awards and the GLAAD Media Awards, Doechii used her first major “big breaks” to do something the industry hates: she made people uncomfortable with the truth.

    She didn’t just thank her label; she called out the “ruthless attacks” on trans people and the LGBTQ+ community.


    “I feel it’s my responsibility as an artist to use this moment to speak up for all oppressed people.”

    -Doechii

    A Platform is a Responsibility:

    Doechii’s defiance bridges the gap. She proves that the Sacred Mother energy doesn’t just belong in the underground.

    Whether it’s standing up for Black, Latino, or trans lives, her message is a mirror to Peachkka’s: the “Empire” is expiring because we are no longer afraid to speak.


    Transmutation- From Pain to Power:

    The ultimate theme connecting these artists is transmutation. Taking the “pain and the hurt,” “the “wicked ways” we’ve been forced to endure, and turning it into fertilizer.

    Why “Love and Light” Isn’t Enough:

    As Peachkka says, “Love and light is for beginners.” To truly dismantle the Epstein elite and the systems that protect them, we have to be willing to look at the dirt. We have to be willing to be the fire” that cleanses the rot.


    Growing from the Dirt:

    We cannot wait for the mainstream media to give us permission to be outraged. They are the guardians of the very Epstein Elite Empire that is expiring.

    The real protection for survivors doesn’t come from a news anchor; it comes from the independent writer, those working underground, and the artist who uses their award speech to defend the vulnerable.

    From the “Sacred Mother” protection in Peachkka’s lyrics to the “responsibility” voiced by Doechii, the message is clear: the blinders are off. We are the ones who decide who is a “winner” and who is “fertilizer.”

    By standing together, we ensure that the “twisted liars” are returned to the earth and that the next generation grows in a soil that is finally clean.


    TLDR:

    Mainstream Media Silence is an expiration notice for the Elite Empire built on oppression. From the lo-fi invocations of Peachkka to the national stage presence of Doechii, a new wave of artists is refusing to be bought, turning systemic rage into a “Sacred Fire.”

    By rejecting the industry’s “love and light” bullshit and looking directly at the rot, these artists are transforming predators into fertilizer for a better future.

    The blinders are off, we are the ones who decide who gets a seat at the table and who gets returned to the dirt.


    Let me know:

    Feedback?

    Comments, Questions? Concerns?


  • De-Masking at the Tree-Line – Survival in the Valley:

    De-Masking at the Tree-Line – Survival in the Valley:


    Best For:

    Truth-seekers tired of the performance, hikers who carry more than just their packs, souls feeling the friction of society, anyone navigating the gap between who they are and who they’re expected to be, outsiders finding their home in the dirt, and, those ready to trade their armor for an authentic life.


    The Vault

    • The Mental Binder: Unpacking the transition from a physical nylon garment to a psychological “social armor” built from hyper-vigilance and performative gender roles.
    • The Valley vs. The Tree-Line: Contrasting the high-alert survival state of cis-normative society (“The Valley“) with the judgment-free filter of the forest where performance isn’t a requirement for entry.
    • Ritualistic Shedding: A mile-by-mile breakdown of dropping the “rivets” of identity, from the vest of the title “Sir” to the iron-plated need to prove manhood.
    • Structural Fatigue: Recognizing the exhaustion of maintaining a defensive “mask” and the realization that nature does not have a checklist for existence.

    Welcome to Story Two

    Welcome to the sixth short story I’ve released since the first one in January 2026. Most of my shorts have been dwelling in the shadows of psychological thrillers. We’ve explored the unsettling “getaway spa” of Anonymous Arron, the chilling futuretense human rights violationsof Moist. Crunchy. Purple. Then we looked inside the eerie, “perfected” versions of ourselvespromised in Something is Amiss in the Clinic.

    We stepped out of the clinics and the underground bunkers. And stepped into the open air, in His Granite Skin.

    We drove back into the realization that we are the next under-productive people in The Shelf Life of Productive Individuals.

    Today we should probably try to seek out more fresh air along with a way to get this mental binder dressed up as armor off of my back.

    While my previous stories focused on external systems and authoritarian pressures, this piece is about the internal landscape. We are going to unpack identity differently. Not through poetry for advocacy, self growth, or expression. Not creative writing and definitely not through forced procedure.

    Here comes your identity via a thru-hike with me visuallyBackpacking in the open-air with deliberate creative visual descriptions in the second piece of “The Breaking of Bedrock: A Collection of Short Nature-Based Transitional Stories”

    What are you waiting for?

    Let’s find a good spot to start undoing this mental armor of performance

    While you watch the embodiment of transition unfold through these words in nature


    For many in the LGBT+ community, survival in “The Valley” requires a specialized suit of psychological armor. Perhaps you might make a a mental binder where your old one used to be, built from hyper-vigilance and the constant performance of gender.

    This story isn’t about the hike itself, but about the ritualistic shedding of that armor. This is set in a visual journey through the Ohio treeline, here the only audience is the ancient hickory, Blackhand Sandstone, and the wild forest.

    The only requirement for entry is your own honesty. Let’s leave the rusted plates of who society says we should be on the pavement and find out what it feels like to walk without the clank of performance.


    De-Masking At the Tree-Line:

    Down here the Valley wasn’t just a geographical location; the valley was a state of high-alert existence. The place I called home.

    This valley was where prying eyes peer around every grocery store aisle just to guess what was in my pants; there I was a walking science project.

    Before I even grabbed my keys, I had to check the rivets and grooves in my social armor. It acted like a mental replacement of my old chest binder. I felt it in the tightening of my throat after It squeaked as if I was still the fifteen-year-old boy that I never got to be. I could tell it was near in the conscious squaring of my shoulders when I would notice myself succumbing to the urge to shrink.

    The heaviest thing I ever carried wasn’t my pack; it was the man I felt I had to apologize for being

    When hyper-vigilance caused me to scan every passing face in public for a flicker of disgust, I felt the nylon binder cutting in, as if it was actually pressing against my ribs again.

    By the time I reached the trailhead, and put my car into park…

    I was already exhausted.

    The exhaustion was not in my muscles though; it was in my memory. It was the structural fatigue a bridge felt when carrying too much weight. It was in every “Good morning” to my neighbors in the valley disguised as a stress test.

    I had to calibrate the depth of my voice, the way I chose to say “hello,” and the steady stillness of my hands to ensure my armor did not rattle. I performed to hide the ghost of a girl they never even knew.

    My jaw was a locked vice, that held up the mask of a man who had to be twice as certain as anyone else just to be seen as half as real.

    On my back I planned to carry thirty pounds of gear in my pack. I knew I had planned well for this; the invisible plate-mail built by my mental binder for public performance weighed twice that, at least.

    Like a knight who had forgotten he was not at war, I prepared to clank around a silent forest.


    The First Mile: Breaking the Rivets:

    The Ohio humidity was thick, like a wet hand pressed against my chest as I took the first few steps into the treeline. The scent of damp moss and rotting oak leaves hit me, and for a split second, my armor felt slightly heavier.

    In the valley, my physical binder was a cage. Albeit necessary, a suffocatingly built triple-layered nylon compression garment.

    Through life I was able to shed those extra three layers of skin but my internal protective system built something new where it once lived.

    The trail started to incline, and something changed, about a mile in. The path narrowed where the roots of ancient hickories began to lace across the dirt like veins. The first chunk of my performance armor fell off.

    It was the weight of the title “Sir” I used to crave but carried like a lead vest. In the valley, “Sir” was a boundary I had to sometimes defend, seemingly with my safety.

    Here, the hickory trees didn’t care. As the incline steepened, the first rivet popped with the need to keep my chest expanded and my stomach tight.

    I let my breath fall heavy and jagged. I stopped pulling my shoulders back to articulate mass.

    I didn’t feel like performing anymore. The pieces of my armor did not just fall; Each piece hit the forest floor with a metallic echoing bang.

    I left them to rust and dissolve into the forest floor with the humidity and quiet knowledge.

    I could finally breathe again.

    When it happened, I’m not fully sure, but I had just noticed the fact that I hadn’t yet peered over my shoulder or glanced around out of fear. The human gaze of prying eyes in the valley were miles behind me. The trees did not have a checklist for manhood. The squirrels were not debating the ethics of my existence in comment sections.

    I felt a second rivet pop in my armor. Then another. I was no longer performing to pass. I was just breathing in the forest air.


    The Tree-Line Filter:

    As the elevation gain started to burn in my quads, the forest continued to change.

    I was moving through a cathedral of sandstone and shadows.

    I began to think about the stories I used to tell myself to survive, the “she” and “her” I used to wrap around me like a shield… that was actually a shroud.

    This hike was a negotiation.

    Every switchback became a new chance to leave a piece of my performance armor behind.

    I dropped a gauntlet at the base of a buckeye tree, I left the heavy, iron-plated need to prove I was man enough for the room.

    I left a greave in a patch of wild ramps, along with the way, I had officially trained my legs to move so they did not betray a softness I did not know. I unbuckled the chest plate of hyper-vigilance that typically kept me scanning for a sneer or double-take.

    Each piece struck the earth with a hollow, dying ring. Eventually, they began dissolving with the humidity and quiet knowledge.

    I was stripping down to my marrow.

    When I finally reached the higher ridges, the wind started to pick up as the canopy grew thin, my Mental Binder had snapped. The last piece of it fell to the ground with a sudden and echoing clank.

    The physical binder had not been there in years, soaked in sweat, T-shirt tight against my skin. Even the straps of my pack were wet in my hand from perspiration. The suffocation I felt even after the fabric wasn’t physical, it was the fear of a society who didn’t wish to coexist with me.

    I found a small basin of rainwater caught in a depression of Blackhand Sandstone. I looked at my face and I didn’t see a need to perform manhood. I felt no inclination that I had to defend or prove myself to anyone.

    I saw a face that was finally at peace, relaxed even. The muscles around my eyes had let go of that frantic tension of forever performing in the valley.

    My mouth was no longer set in a defensive line. I looked like a man who had just put down a heavy box he’d been carrying for thirty-some years.

    Without the armor to block it, the light hit me differently.

    It was no longer flat, hard, or defensive, and bounced right off of me.

    Transition is the ritual of leaving your bullshit at the tree-line and trusting your skin to hold the light.

    Standing there at the treeline, the sunbeams broke across me. Soaking the rays into my skin, ritualistically.

    The ochre of my stubbornness, the deep mossy green of my peace, the sharp silver of my new authenticity.


    Carrying the Light Down:

    I stood on a ledge overlooking a deep tree covered ravine. The wind up here was fierce, still, yet I felt invincible in comparison.

    As I continued to take in the view out over the Forest, a hard truth settled in.

    The dream was not to stay up there forever.

    Living in the woods was a retreat, and I didn’t transition or hike this to hide. I transitioned to exist.

    The real work was not found at the summit. It was what happened when I started the descent. How did I carry this feeling back into the valley? How did I keep the mental Binder from forcing itself back into my closet the second someone stared a moment too long?

    I began the trek back down. I passed the place where I dropped my gauntlets.

    The weight of what was left was the hardest part of the descent. Even without the iron plates, my muscles remembered their presence.

    My shoulders still forcibly hunched as the canopy thinned and the sounds of the road began to bleed back into the soft silence.

    I focused on the sensation of the sun hitting my face.

    I practiced the feeling of my lungs expanding without hitting the wall of my mental binder.

    If the valley wanted the knight, they would have to settle for the man first; I had left the suit to rust in the rain.

    I was too light now to ever go back to crawling.

    I left the rusted husks that were left of my dissolving performance in the topsoil to be reclaimed by the earth.

    I walked back into the world as a man, without performative armor.

    I finally had the courage to stand in the sun without it.


    Journey Summary

    This piece moves away from the geological permanence of the first story and focuses on the psychological shedding of the social armor. It explores a metal binder that replaced the physical one as internal restriction. Trans people often feel this in cis-normative spaces and I use the treeline as a literal filter for that exhaustion.

    Key Imagery:

    • The Social Armor: The heavy, polished performance of gender used for safety in the valley.
    • The Reflection of Peace: An expression for the peace found in nature, where identity exists without the pressure of an audience.
    • Carrying the light : The concluding action, taking the freedom of the wilderness back into society to change the world.

    TLDR:

    De-Masking at the Tree-Line is a journey through the internal landscape of transition, using the Ohio wilderness as a sanctuary to shed the heavy, performative armor required for survival in the “Valley.”

    Through a visual thru-hike into the tree-line, we trade the suffocating weight of social expectations for the marrow-deep honesty of the forest.

    It’s a reminder that we don’t hike to hide from ourselves, but to finally stand in the sun without the armor, we end up carrying the light of authenticity back down into a world that often demands a mask.


  • Male Artists: Catchy Sing-a-Long Cheating Songs a Double Standard:

    Male Artists: Catchy Sing-a-Long Cheating Songs a Double Standard:

    Best For:

    Music nerds who dissect lyrics, feminist media critics, pop culture junkies, country and hip-hop fans with a critical eye, and anyone who’s ever side-eyed a wedding DJ for playing “Escape.”


    The Vault:

    • The Piña Colada Paradox: A deep dive into how “Escape” masks a narrative of mutual attempted betrayal as a wholesome “wedding classic” through lighthearted production.
    • Sexual Capital vs. Whimsical Infidelity: Contrasting Cardi B’s need to justify her “ring” through loyalty/labor against the narrative “get out of jail free” card given to male artists.
    • Genre-Based Double Standards: How Country and Hip-Hop frame male cheating as a “whiskey-induced lapse” while punishing female artists with narrative “character flaws.”
    • The Burden of Justification: Why women in music are forced to package desire in empowerment or irony, while men are afforded the default freedom to be “philosophers of lust.

    The Piña Colada Problem:

    Music has always been a battleground for desire. But if you listen closely, really listen… you’ll notice something that cuts across pop, country, rap, and rock: men can sing about infidelity however they want.

    Yes, just men…

    You and I both know that women are still fighting for the ability to sing about their partner sexually without being shit-talked.

    Rupert Holmes gave us “Escape (The Piña Colada Song),” a lighthearted romp about a man so bored with his partner that he places a personal ad to find someone new.

    The twist?

    The respondent ironically was his own wife, and then they both just laugh it off.

    It’s a wedding staple… let that sink in a moment.

    A “karaoke classic.”

    A song about attempted cheating that somehow wants to feels wholesome.

    “Escape (The Piña Colada Song),”hit #1 on December 22, 1979, and held the spot into January 1980, making the “classic” though I’m not gonna lie I won’t deny its catchy) literal bridge between decades and the anthem for the ‘me-first’ culture of the 80s

    Meanwhile, Cardi B raps, “I don’t cook, I don’t clean, but let me tell you how I got this ring,” and the subtext is clear: outside of her career she doesn’t do traditional wife shit in a committed relationship is tied to what she provides sexually and how she navigates loyalty.

    Cardi’s song was not a whimsical steel-drum moment about seeking excitement elsewhere.. while married.

    Yet, She has to justify her position, and in a supposedly much more progressive era.

    We both know this is not about prudishness or politeness. I for one don’t think don’t that modern television is too much smut, but I know our tv shows would give grandmas from the no-shared-beds on television a heart attack!

    Honestly, if you as me… most openminded and honest individuals can see the fundamental double standard in who gets to be casually, complexly, and consequentially human in their art.


    The Trope – Cheating as aQuirky Rom-Com:

    “Escape” is a masterclass in narrative sleight of hand. The male protagonist is bored. So he writes a personal ad. His wife responds with the intent to have an affair.

    The song should, by any logical measure, be about betrayal. But Holmes frames it as fate.

    The light percussion,

    singalong chorus,

    and ironic twist…

    all work to absolve the narrator.

    He wasn’t really cheating.

    He was only looking for connection.

    He just happened to discover it again with his wife because if another woman would have answered, the same thing would have happened. Yet, the takeaway is somehow seen as romantic: they found each other again.

    But here’s the part nobody talks about:
    Holmes’s character could have taken all that energy:

    • the plotting
    • the personal ad
    • the secret meetup

    & simply reinvested it into his existing relationship.

    He could have asked his partner what she liked… probably years ago.

    He could have tried to rekindle the flame instead of shopping for a replacement. Yet, that’s not what he chose to do though.

    But as most stories seem to go… He’s just a man so, of course…”oh, you know boys will be boys…” said about a grown ass bum.

    The song and listeners reward him for it.

    We can see the double standard in action. A male artist gets to take the most roundabout, borderline-unfaithful path to reconnection and still come out looking like a romantic hero.

    We all know that a female artist attempting the same narrative would be eviscerated.


    Cardi B & the Burden of Proving Worth:

    Cardi B operates in a space where male rappers never have to. Her music frequently addresses the tension between sexual power and relational respect.

    The now-famous line about getting a ring isn’t a boast about infidelity… it’s a boast about knowing she’s good at it and earning her rock through

    desirability, implicitly, & loyalty.

    When rappers like lil Wayne, Drake, and Future rap about wanting women like their objects, degrade them, and more they’re often met by their songs being played back, shared, and turned up.

    Cardi B. doesn’t get that same grace.

    Her sexuality is constantly framed as either over-the-top or reactive. She rarely gets to simply desire inside her previous committed framework without facing immediate moral judgment.

    The contrast is stark:

    • Rupert Holmes makes cheating romantic and quirky in “Escape,” and somehow creates a viral wedding song form. Male rappers make an array of lyrically creative jabs at women and non one blinks.
    • Cardi B raps about securing a ring through sexual capital and is called calculating.
    • I mean look at Britany Spears…

    One side is afforded the freedom to wander.

    & the other is expected to earn their place.


    Across Genres – Country, Rap, & the Unspoken Rules;

    This isn’t isolated to pop, rap, and hip-hop. Country music has built entire subgenres around the double standard.

    Masculinity & Country Artists – Cheating & Circumstance:

    From classic outlaw country to modern rock-country, male artists have long framed infidelity as a product of circumstance: the open road, a weak moment, a whiskey-induced lapse in judgment.

    The protagonist remains sympathetic. Songs like “Whiskey Bent and Hell Bound” or even more contemporary tracks treat cheating as something that happens to a man rather than something he actively chooses.

    Women Country Artists – Cheating as Character Flaw

    Women in country singing about infidelity, are almost always the wronged party (Carrie Underwood’s “Before He Cheats”) or, if they stray, they face narrative punishment. Miranda Lambert has faced significant backlash for songs where she steps out, even when the context is neglect. The genre simply doesn’t allow women the same “boys will be boys” narrative cushion.


    Rap – The Loyalty Double Bind:

    In hip-hop, the divide is even more pronounced. Male rappers can cycle through explicit desires for multiple sexual partners while maintaining a real persona.

    Women like Megan Thee Stallion or CupcakKe often have to wrap their explorations of desire in irony, humor, or overt empowerment framing just to avoid being reduced to a single label. A man can be a “savage- lover. A woman still has to pick a lane, or get slut-shammed.


    Why This Matters – Narrative Freedom vs. Moral Policing:

    At the heart of all this is a simple question: who gets to be the architect of their own desire?

    Male artists, regardless of genre, operate with a default assumption of narrative freedom. They can be faithful, unfaithful, searching, or settled, and listeners accept it as part of a complex character. Their songs can be literal, poetic, explicit, or whimsical. The response is usually that’s just his story.

    Female artists are still fighting for that same freedom. When they try, they’re forced to package their desire in:

    · Irony (to signal they’re in on the joke)
    · Empowerment framing (to make it palatable)
    · Relational context (to justify why they’re expressing desire at all)

    Rupert Holmes got to make a whimsical pop hit about trying to cheat. Cardi B has to constantly assert that despite her sexuality, she’s a wife who deserves her ring. Rappers get to be a philosophers of lust.

    Yet, woman doing the same would be called a whore.


    I’d Rather Hear a Woman Run the Game:

    I listen to a lot of different types of music. I enjoy the melodies, the storytelling, and the craft across genres. But I’m tired of pretending the double standard doesn’t exist.

    I’d rather hear a woman rap about getting her lick back, running game on a man, or treating men the way they’ve been treating women for decades.

    I’d rather hear Cardi B, Megan Thee Stallion, or any female artist embrace the same narrative freedom we hand to male artists without question.

    Because here’s the truth is if Rupert Holmes’s character had just put that energy into rekindling his own flame instead of placing a personal ad, he wouldn’t have needed a cute plot twist to justify his behavior. But the song rewards him anyway.

    It’s time we started rewarding women for the same narrative complexity without the ring, without the justification, and without the double standard.


    TLDR:

    We need to stop pretending that “The Piña Colada Song” isn’t a catchy anthem for the “me-first” culture of infidelity. From 1970s pop to modern rap, male artists have been rewarded for roundabout paths to betrayal while women like Cardi B are forced to morally justify their place in a relationship.

    It’s time to stop demanding a “loyalty tax” from female artists and start rewarding them for the same narrative complexity, guts, and messy humanity we’ve let men sing about for decades.


  • Permanent Ink – Iden

    Permanent Ink – Iden


    Political Roots:

    The Trump monarchy has made it a policy to target the trans/nb/ gender queer community. I believe in my heart that they will persecute us as thoroughly as they are able. Trans erasure means just that. It means destruction of the trans population in America by segregating or killing us and destroy our history. Erasing us. They will remove our names, they will take away our stories just as they would take away our lives. I won’t let that happen but I need help


    Doomsday Measure & Self Expression project:

    The Permanent Ink Project is a doomsday measure to preserve the names and stories of as many gender queer Americans as is possible. The idea is to collect and disseminate these documents in places where they cannot be accessed and destroyed. Download them and store them in offline hard drives or flash drives, print hard copies and hide them. 


    High Stakes:

    There is a real chance that many of us will not survive the fascist regime gaining control of our country but, in this way, we can maximize the odds that someone in the future, maybe a better, safer, more loving future, will find these stories and remember us. 

    This project is my best effort to keep our beautiful trans community from being erased

    How it works:

    Follow the link to the Permanent Ink Project and email me your story.

    Who this is for & what to include:

    • your name
    • pronouns
    • & say the things that you want people to know about you.
    • There is no word limit
    • . This project is available to all gender queer identities. 

    I cannot handle storage for pictures. This is meant to be as simple as possible so I will be grouping the stories together as I get them. The database will not be searchable. If you want to preserve pictures, I recommend doing a similar thing with any pics you have of the trans folks in your life. Print them, put notes with them, and hide them away. 


    Next Steps:

    Next, download as many documents as you can. Print copies of them and store them where they will be safe from the elements and will not be found by police or others who would seek to destroy us

    Finally, spread the word about this project. The more stories we get and share the better. I especially encourage you to get friends outside of the United States to download our stories. This is an open project. There are no copyrights here. Anyone can add to this project in anyway that they see fit including starting copycat projects on their own platforms. 

    It is my most ardent wish that this entire effort be pointless in the end. I think we can defeat this evil and I would love to see us all walking free and without fear. But I think we most also face the brutal truth that we may lose. The unthinkable may happen and this may be our last few days as free humans. Let’s ensure that the future knows who we were. Let’s show them that gender queer people existed in America, we were real, we were beautiful, and we would not be erased


    Get Involved; Iden’s Links:

    Be vocal, or be silenced. Be visible, or be erased

    My Name is Iden – Website

    Instagram

    Permanent Ink– Webpage

    The Gender X Spotlight

  • Gender X – The Exhibition:

    Gender X – The Exhibition:


    The Spotlight:

    The struggle for visibility is often fought on the smallest and largest of battlefields, like the single letter on a government ID or the struggle to be seen as an equal person in society. In this community project spotlight, Iden breaks down the profound significance of “Gender X” the exhibition and the political efforts looking to erase us.

    This isn’t just about a passport; it’s about the right to exist outside a binary designed to control. Read on for a raw, defiant look at identity in the face of a changing political landscape and a call to all transgender gender nonconforming artists to use their voice or be silenced.

    The Backstory:

    Those of us in the transgender, non-binary, gender, and queer/fluid communities have always had to struggle to been seen. We have been made to fit ourselves into the boxes made available to us by society and the consequences we faced for defying the establishment often kept us in the shadows. 

    The fear, the persecutions, the lies have all been working toward the same goal: maintaining the binary construct of gender and, by extension, the patriarchy. The power structure of the patriarchy demands that male be superior to female. It is a system that cannot allow the existence of any gender indentity beyond oppressor and oppressed, Male or Female, M or F. 

    All government identification exists to serve the patriarchy. Your gender is assigned to you before you have taken two breaths in this world and the label M or F is grafted to you. It is literally your identity. The irony for gender queer individuals is that our indentification does not reflect our identity at all. 


    The Politics:

    In 2022 the Biden administration made it possible for people to select a third option: X. This was a massive gesture. It not only acknowledged the existence of a gender experience beyond the binary, it acknowledged an individual’s right to establish their own identity outside of the system of control we were all taught was unassailable. 

    It is no surprise that the first move of the Trump administration was to rescind the executive order allowing for the selection of gender X. This is a fascist regime whose goals are all centered on the destruction of identity and the silencing of dissent. The removal of gender X from passports was just first step in a focused effort to erase the transgender community and return this country to the repressive control of the patriarchy. 


    The Exhibition:

    This exhibition, Gender X, is a statement in direct defiance of the Trump monarchy. It is a refusal to allow our voices to be silenced or our existence to be erased. It is a testimony to our struggles, a celebration of our lives, and a call to action for our allies. If we do not stand together now and fight this government we will not be here. 

    Make no mistake, the goal of this self-proclaimed king and his administration is the destruction of the transgender community. If the stories shared here moved you, if the beauty of the artwork touched you, if you are a soul who believes in goodness you will stand with us now. 


    The Choice

    Be vocal, or be silenced. Be visible, or be erased

    My Name Is Iden – Website

    Instagram

    The Permanent Ink Project – Spotlight