Beastility shows

A bit late to the game, but the post about Shanghai'ing and Gut Fistulas made me more open to posting my email I sent to the boys about a question they asked in the necrophilia episode about whether ancient Egyptians had sex with cats. Hopefully some of you find it interesting!
Hello there!
In the most recent episode about necrophilia, you guys asked about whether Egyptians had sex with cats since they viewed them as gods. I'm no Egyptologist, but I did study the history of cats for a show I run after a listener requested it so I may be able to help a bit.
Now, first off, cats themselves weren't necessarily worshipped as gods or goddesses in Egypt. Rather, the view was that the dieties in their pantheon would inhabit the likeness of a cat, and thus that god or goddess would be worshipped in that form. The cat was a symbol of fertility and femininity in their culture, as well as protective and proficient at hunting. This dichotomy is a part of why they were looked at with high esteem compared to other animals.
But more to the question at hand. As far as I have found, the answer is no; Egyptians did not have sex with cats. At least, not nearly enough to make it worth mentioning. Beastility was illegal and was punishable by severe tortures and death. However, it was apparently commonly practiced. According to a writing by the International Society for Anthrozoology, ancient Egyptians would have sex with animals pretty often despite the penalties. Men would choose larger domesticated animals, like bulls and goats. Women, on the other hand, would go with dogs, or in Cleopatra's case, she had a box of bees that she supposedly put near her vagina to stimulate herself like a vibrator. The most interesting was that Egyptians were said to have mastered sex with crocodiles, in which they would flip the animal on its back and render it incapable of resisting penetration. This was said to restore prosperity and potency in men. But once again, nothing really about cats.
There was a cult that followed the goddess known as Bastet who was represented in cat form regularly. The cult would host festivals every year in which people would party on boats and on land at the temple for Bastet, where orgies were said to be pretty common and women would regularly flash their genitals to show their own fertility and whatnot. People would come here on the off days to have their cats interred or mummified on occasion too. So I guess it was, at best, adjacent to sex in a way.
Hope this helped! If I got anything wrong, maybe a real Egyptologist can correct my mistakes.

Please give your honest opinion!<

Stumbling out of the dark, Klein approach the house of worship, he guardedly glanced behind him.
The slight frown of his chapped lips and Furrow of his brow expressed his slight unease.
His hand trembled and lips quivered in response to his worsening condition, perhaps feeling his lips coarse texture, Klein draged his tongue slowly across there cracked surface.
Tasting the fine bitterness of dirt and the pain from his split lip however only made his mood sour further.
His head knotted fiercely by his scowl; His mouth bowed forward and his brow inwards, He spat contemptuously on the stone steps trying to clear the foul taste from his mouth.
Unsurprising, no saliva exited past his parched lips, his mouth was just as barren of moisture.
He felt every bit of this pain, thirst and fatigue.
As he moved further along, he strenuously clinched onto his largely exhausted candle; The candle mirrored his sentiments exactly.
His slight hunchback, protruding spine and deep wrinkles that adorned his face emphasized his exhaustive survival.
He dug his left hand into the dirt wall, his finger gouging away bits of rocks and peppered dirt as he did so.
A natural stone steps and palatial courtyard; a ghostly network of passages could be discerned trailing behind.
There gray stone steps descending, sunken below the abundant shadow.
The path into this petite Chapel was hardly discernible in the dark.
Behind him he saw yet another patch of darkness distinctive from the darkness that soundlessly guided him up these steps previously.
The candle was helpless to cut past that wall of dark oppression.
Klein could only describe It as a rotten, strange night populated by shadowy silhouettes of surfacing horrors.
These hallucinations emerged from his peripheral view periodically, like a phantom presence; it tempted his heart into verifying its existence in reality.
Klein perceived a desire to abandon the candle in hand and alone, bask in the darkness.
like a demon deceiving him with a delusion of peaceful repose.
He struggled to withdraw his gaze away from the crazed imagery of the naive musings of a dreary mind.
Klein felt that it must have been his extravagant imagination that yielded the sight of monsters of vaguely anthropoid outline brandishing prodigious claws on an uncountable number of beastil digits in the dark.
It was akin to a waking dream; a hideous unknowable monstrosity; a shadow darker than the surrounding void.
Klein was frightened by his own absurd impulse to join these ferocious figures.
Perhaps it wasn't anything so horrific; it could have just as easily been a deranged delusion of a man welcoming insanity.
Glaring down towards his shaking hands, only then did he relive that his right hand had unconsciously extended into the fog of that moonless "night" ahead.
Klein nervously jerks his hand back, joining his side once again, his elbow brushed the flaps of his oversized tunics as he did so.
The candle perhaps due to his hasty clamber, wavered greatly and threatened to extinguish, it would leave him stranded among these malformed silhouettes.
Klein froze, staring at its diminishing flame, he heaving a sigh of relief as it once again brightened to a "resplendent" blaze.
Perhaps he truly was being stalked by treacherous monsters of nightmares and sin.
What could be worse, klein wondered, utter madness indulged in hysteria or a gruesome death?
He felt the need to ignore these shadows else risk further lunacy.
The maw of hopefully fictitious monsters and profane beasts hid themself within the silhouette of the stairs below.
Seeming still resigning his soul to damnation in expectant joy of a possible mistake on his part.
Like the countless arms of the damned, they reached out withing the pitch black behind him, relentlessly grasping for even just a sliver of his flesh.
Only stopped by the glow of the candle.
Klein even felt as if hear could hear the whales of souls damned to Hellfire. Their screams, they're pitied cries for him to join them, echoed within his head.
Klien had no grasp of what was real or fiction.
He felt faint and just as hungry as though innumerable hands wishing for salvation or perhaps wishing him damnation.
Perhaps all of this was a manifest of his desire and pain.
His hand slipped on a patch of wet rock, the debris underfoot was sweep aside, unable to maintain traction his feat nearly sidle entirely of the stairs rough facets.
He involuntarily edged forward, shifting his torso ahead, his elongated nails clawed ferociously into the earthen wall as he tried his best to maintain his balance.
His right-hand held steadily on a still burning candle, fearing it being extinguished, while his remaining unburdened left hand was left to solely bear the load of his body.
With quaking muscles he pulled himself level with the ground.
Stabilizing his footing on the path ahead, he grimaced in pain, a few mangled, fingers were now present on his bloodied left hand.
A number of nails were pride from there nail-bed, chunks of missing flesh accompanied there missing status.
Instinctually, he flexed his fingers, numbing pain radiating across there maimed tips.
He tried his best to ignore the discomforting sensation as he pressed his hand once again into the wall of dirt as he continued upwards once more.
The friction of bare flesh and rock was excruciating, gritting his teeth he suffer the pain.
His mouth emanated the distinctive, jarred squeak of colinding, well-worn enamel.
His teath were lightly stained yellow and blemished black and gray, a few absent teath hid shyly within the creases of his cheaks.
Klein anxiously held his tongue, yearning to spit out a torrent of expletives, he restrained the saltery words eagerly tempting his heart in agony.
With such a raucous already created, he feared that if you were to agitate this irascible silence once more, he would surely attract grotesque monsters to his position.
All he could do was bitterly swallow the pain and continue in silence.
Klein rested the candle close to his chest in agitation.
It threatening to sear his remaining garments asunder.
The contour of the walkway receded from view each step forward, unilluminated by the compact candle he carried in hand.
This wall of darkness hovered fixedly in the foreground.
Though he had just traveled through this path, if he were to take even a step backwards, he would without-doubt be immediately devoured by the monsters within.
The candle was presently his only solace, although it did little to disperse the trepidation in his heart.
Perhaps if there were truly monsters within, this candle was the only thing keeping them from devouring him in his entirety.
The steps, his muddied hands and long fingernails crusted from dirt and blood were the only thing highlighted by the soft candlelight.
His dirt Laden hands were so caked in filth, They indistinguishable from the dirt wall surrounding him.
Only the conspicuous empty lines of splintering dirt and clay from his gesturing palm made the dark wrinkled flesh underneath apparent.
His left hand steadily felt the rugged exterior of the earthen wall as his right hand still held steadily onto the candle.
Jamming his hand in its the walls fissured surface, it felt the embed stones and clumped dirt, he continued his sluggish trek up these seemingly endless steps.
The stairs were directly connected to the church's doorless archway, and a porch that was likewise unlit.
The candles probing flames sent feelers of light into the already scarcely lit chapel, it partially highlighted the buildings black stone interior.
Despite the staircases, slight incline and modest dimensions, at most consisting of seven to eight individual steps.
The perverse darkness outside left little room to safely navigate.
He spent tremendous energy trudging his way up the irregular Fieldstone steps, wary of each foot's placement.
Subconsciously counting each step, when his arduous journey upwards concluded, he took a moments respite.
Although the journey was brief, it still proved to be torturous, his fragile, malnourished body trembling greatly under the strain.
He had grown diseased, his mind drowsy and filled with the tired thoughts and desires of relaxation.
Or perhaps, instead his dejected eyes beckoned death to release him of his tedious mortality.
As he walked up the stairs, he found that he had surprisingly made his way to the last step in a stupor, he had reached the lobby at last.
His left hand that originally held him steady and clamped firmly against the wall fall ethargicly to his side, passing the archway overhead into the stone interior of the chapel. He let his torso drag across the blackstone within.
He had made it through the underground tunnel and into this stone construct.
He slowly made his way up to the nave and into its crossing, the center walkway of the chapel.
The shelves to the side were empty, and filled with dust, as well as the weaving of spiders, entangled within was a variety of dead insects.
Between those two bookshelves was the centermost alter.
And behind which was a fireplace choked with rubble, it was his only source of light besides his now dim candelabra candle in hand.
The walls, a deathly pale, flickered in the breath of the flame.
He dreamed of the promised food to sate his depressed spirit, he wanted to indulge himself on the forgetful Bliss of satiation, even a piece of stale anything would suffice.
Hunger, it strips the body to a bleak anatomy, and dissolves mind and spirit within one ravenous physical appetite.
Only when it faded could despair overwhelm fatally, Kein asked for death to overtake him plenty, for him to fall into a wakeless stupor for eternity.
Klein could be considered strong when compared to most, he wouldn't take his own life, he would carry on until death bid its seductive demands.
Sitting in the monastery, he lifelessly made his way to one of the many tattered old pews nearest to the right most bookshelf.
He took a seat in the row nearest to the entrance, he lazily scuttled along its surface until he reached the benches edge.
Planting his squalid; shoeless feet on the right armrest, his long jagged toenails unintentionally dug deep into is soft roted surface.
Grime implanted itself from his filthy nails into its wooded exterior.
He hastily guided the rest of his body to lie down, the periodic strain of such an awkward, momentary position left him to let an audible groan, he painful rested his back onto the wooden seat with a resounding crack.
His gray, patchy linen garments listlessly sagged of the pews worn edge.
There patchy construction left large holes, exposing various parts of his body to the elements.
Dirt and what looked akin to excrement mottled its surface a myriad of repugnant brown and greens.
This said much about it's equally malodorous odor fatiguing his nose of its presents.
Perhaps his body wasn't used to such a relaxed posture from days of demanding activities, his back silently protested in pensive discomfort.
Relinquishing his desire to relax lying-down he subsequently sat up in response to the aching, draping his arms behind him, they hung over the backrest.
The extreme discomfort now only replaced by his previous sunken mood.
Flexing his forearms, he pushed his back outwords against the seat, It cracked on the backrests edge, releasing some of the days accumulated tension.
"Now my body won't even allow me relax" He remarked, the grimace etched on his showed his resignation.
He was present even before the first congregation had arrived.
He looked like a failed soldier. Dirt seemed so worked into him that the lines of his face were like writing.
He was a compact, lanky man, with precise features, a lot of clumped black hair, and thoughtful dark brown eyes. He appeared worn and weary.
Tendrils grew from his eyebrows, and coarse white hairs sprouted on his lips and chin.
He wasn't old by any means; in fact, he was only...?
He couldn't even remember his own age now; how bad had his memory become, he thought.
Although he supposed that it was to be expected in the absence of any way to tell time.
Living underground left little room to track such changes; only the growth of some rather large and peculiar incandescent mushrooms gave light to the endless darkness here.
And the hourly rang church bell crudly regulated time.
He however had always perceive the bells scheduled ringing to be incredibly inconsistent.
He believed it to be per the whims of the bell-ringer, rather than the actual measurement of passed time.
Although that was purely his own speculation.
Allowing his eyes to wander, he couldn't help but remark internally.
The decor and spectacularly novel tessellations present on the walls and stone steeple atop this miniature chapel was magnificent.
The patterns, inversely, weren't present on the external outward facing walls of this secluded little church.
Despite the fact that they were etched extensively into the interiors blackstone wall, The contours within the crevices of these markings were unperceivably deep.
The patterns felt as if it should have been visible through to its external surface.
The engraving arose from colliding metal and stone and subsequently exaggerated through persistent application.
It was chiseled into the buildings stoney surface, handcraft by and individuals without proficiency in the art.
The outside was rather dull and uninteresting when compared to the markings of ostensible religious significance inside.
Clad in blistering clay, it masked the unappreciated Interior beauty.
The exterior was unadorned, only the natural weathering of clay decorated ts surface.
He was unaware of the meaning of these engravings or whether they possessed any.
As he hadn't seen any other such symbols elsewhere.
Dragging his protracted gaze away from the wall, he let his neck slacken backwards, over the pews backrest.
His neck cracked and growned from alleviated pressure.
His unintentional cursory glance brought the words carved into the arch behind him into view, he must have miss it coming in.
The inscriptions on the inner arch beared but four words; they were, however, illegible.
This initially unassuming epigraph appeared to be defaced and mutilated.
Long lacerations veiled the words meaning; it was obvious that it was intentionally vandalized.
These poorly constructed religious markings and the buildings small stature, however, did little to diminish its hallowed visage.

Hi, im SomeSerb. I've been doing in dept research on anime and basically in general the phycology behind it. If it isnt obvious already, I clearly am not a big fan of Anime in general. I think its a shit over satured genre with the same theme every anime and just not good content in general. Originally I was doing this for my commentary channel where I was gonna make my own shitty series/mini documentaries and there would be an episode on anime until it actually hit me. This is way to deep for one video in itself. If I were to make a video on it, Id have to make so many follow up videos its unreal. So I thought I'd just summarise it here on reddit instead. At first I was talking about the extreme over sexualisation of anime content in my script, until in my recommended I found a video by solar sands talking about the reason why people love anime so much, and how yes it is a problem but you cant blame the fanbase to an extent. Then it really got me thinking. Is the reason why people like anime so much really that there so fucking dead inside, so mentally drained that loneliness basically consumes them? Regular depression and more usually leads people to needing meaning or comfort in life. Thats why depressed people usually have toxic coping methods. But I think when depression is in that early stage of "jesus christ im fucking lonely" or "fuck i need some friends", thats when theres more of a variety of coping methods.
DISCLAMER: If you think that im about to suggest anime as a coping method, please leave this subreddit and go to your nearest doctor.
Coping methods such as; trying to make friends, just in general trying to have a healthier mindset, sinking into a new show or movie and becoming a couch potato (which isnt necessarily always bad), etc. But this can also result in pretty weird coping methods. Alot of furries in my opinion would of been lead into the shit fest there in currently because of early stages of depression. Also, I should probably say. NOT only depression can lead to this. Regular loneliness and shit can result in those coping methods. In a sense the reason why they would do this is because being a furry would fill the void of crippling fucking loneliness as they dont have to suffer the reality that is having no friends. They have anthro porn and a shit community as a shoulder to cry on. In 2008 a survey came to the results that 20% of the furry community were into zoophilia (beastility and all that fucked up shit). Because of how good the sensation of finding a working coping method is, it turns into an addiction. And as we all know, addictions can consume your mental health so much it sucks you dry of your IQ and makes you the equivalent to a 4th grader in terms of intelligence. If this applys to furries (possibly), then why wouldn't it apply to weebs? Well heres where I bring a point to the table. There is so much anime content depicting depression, loneliness and anxiety. Wouldn't this be deemed as content marketed towards people who are recovering or suffering from depression? There is no statistic, or fact to back up my theory on this. But I can some what say that this is a possible reason why people can become so mentally fucked they'd watch anime. I used to be in the Country Ball community, and just that feeling that I belonged was super satisfying. To have people who were interested and enjoyed the same stuff as me was great. But when I got so into that I started larping as fucking countries, thats when I just noped out of the community.
SUMMARY:
Look, I get it. Im posting this on a subreddit for shit posting. And I dont expect this to be even remotely taken seriously. There will probably be some fucking copypasta of this or some BS tomorrow in my notifications. But I still agree with what I said here. I think my theory is somewhat right.
EDIT: Forgot to say, I didnt proof read this. Sorry for any grammatical errors.

Let’s use lore Here And step out of roleplay 1. Shadow Meowscles Has No lynx mark and is replaced with scratches (Probably scratches off the tattoo)

1. Lynx is never seen again. (VIX IS NOT LYNX UNLESS THEY GOT PLASTIC SURGERY AND CUT OFF HER [Redacted] )
   
2. I get meowscles may be crying about losing his yacht but he seems Really chill at the box factory, making it more likely he isn’t crying about the yacht and more likely Lynx’s death
   
3. At box factory He is shadow Like in point number 1 It’s a style without the lynx tattoo but it also a has Number 1 tattoo on the other arm (parallel where the lynx tattoo would be). This is a reach so Maybe the tattoo represents Him being number 1 because he has nobody left.
   
4. Beastiality, we all knew this was gonna come up, No matter what it’s beastility no matter who’s kid it is. But because Skye is based off link and Finn you could say Skye is not a human but a Human-noid
   
5. Lynx Is Canonically dead, Lynx dies to the gold touch out of the loop (Midas cutsence even though being replay able Is out of loop ((Evidence: Doomsday device changes, And That you cannot go back on your choice of ghost or shadow)) )
   
6. Lynx has been dead before Season 2 even started. Look at ghost meowscles he also has no Lynx mark. Showing lynx probably is already dead and he seeked comfort under Midas’s rule. Until he finds out Midas killed lynx. This is what causes His tears He Is reminded of Lynx’s death And now he knows he has been betrayed
   

Now, this is no way proof Skye Is Kit’s Mom but Skye is The only real other contender (Unless Kit was adopted). So by process of elimination Kit is either adopted Or Skye Is Kit’s mother.

Hojo is horrible, and not in a sense that he looks like a hentai doctor with defecating fetishes. Hojo one of Shinra's highest regarded scientist. But what does Hojo really have to show for it? Has he been successful? Is it because he's just a cherry picker that has no ethical boundaries?
Sephiroth: Yeah he made a child yet this is an experiment done after he cherry picks Dr. Gast research on Jenova. Then because Hollander is going to put Jenova cells into a fetus, he puts Jenova cells into a fetus. He can't even tell the difference between his son and hooded guys from what we can see.
Jenova Hojo: Going crazy and trying to send more mako to Sephiroth in the Sister Ray. This is the downfall of intelligent man. Who cannot come to grip with the inability to science a situation.
The Reunion Theory: He was just injecting people with S cells, knowing what would happen. And wants to "test" the theory. Imo he has nothing else better to do to make himself look good so he just tells President Shinra that he is going to make S clones.
Vincent: He shot him. And it's more like he just stuffed him with whatever he wanted. Then Lucrecia showed up and perfected Hojo's abomination and fused him with Chaos.
Chadley: How you create a android that can break his own shackles...And you don't notice? And is it canon Chadley gives Hojo incorrect combat data? It's the only reason I can understand you thought a group of Shinra soldiers could beat Cloud and friends. After they killed your experiment! Are you telling me that strike force could have beat that monster.
Digital Hojo: How do you make a digital copy of your mind and not make back ups? You know by now that this rag tag group of misfits have defeated everyone in their way. He should've just been in the Cloud and sending his copies to do the heavy lifting.
Red XIII: Though the Red clones got scrapped and never put in the game, wtF did he have him locked up for so long for? Fight Club? Beastilality cross breeding? Once again a hentai character with some bad fetishes.
Rufus: Knew he was a fraud and fired his ass until later on in the game.
Cloud: The one thing I think he did right, he was never able to see it for what it was until it was too late.
Hojo sucks. He's smart af. But common sense ain't common. In my opinion he is dumb af. He is also that opportunist in a workspace that keeps getting promoted because they steal other work to make themselves look good. They find that one thing "Sephiroth" to propel themselves to celebrity status and hold onto it for dear life.

And I haven't done since. Because I know it was wrong. I am not sure where my head was at as a child. But this person literally took everything bad flaw character of myself and make it into their own. Which is fine. It is something I wouldn't have done. They acted as if they knew who I was BEFORE KNOWING WHO I WAS.
You don't know me. You say I don't know myself and you are dead ass wrong.
Who came to my state to harass me? Who took the time and energy to mold themselves into every terrible flaw as a person?
Not me. So. I probably deserve getting hit, bruised up and no I am not very pretty.
Shit. You actually thought I had a beastility account. What the fuck? Who the fuck did you think I was? It is fucking gross.
I know who you are though. Someone who believes he is doing justice for those without a voice right? Someone that is a leader, right? Someone who is so brilliant...
Let me tell you something. You can make a happy life for you but you will never be happy. And I didn't fall in love with myself, by you displaying the flawed character aspect of me.
I fell in love with the remarkable, intelligent YOU.
But you hate me. You find me disgusting. Over what? Over circumstances I couldn't possibly control as a child? As a child when I believed I wasn't loveable then so I allowed some things to happen BECAUSE AS A CHILD I DID NOT FEEL LOVED? THAT HOW COULD ANYONE. ANYONE LOVE ME? BECAUSE I FELT SO UGLY. SO UGLY BEFORE I EVEN DID ANYTHING.
But thank you for showing how obsessed you were with me. To the point of naming your cat after me because you hate me. You never even knew me. And you never loved nor cared nor wanted to be my friend.
You almost made me believe I was truly loveable.
But I tealize now that I am not. No one will ever love me. NO ONE.
And that is fine.. If my ex was here. I would gladly accept him abusing me. It is probably why I dated him in the first place. I didn't deserve to be loved.
I mean, I knew you were trolling me and you weren't like that at all. So i went along with it. Why not? I wanted to know the real YOU. Because YOU had covered it up with stupid past stuff that isn't even relevant now.
Thanks for the unnecessary trauma.. and everything else.. who is the real shitty person here? Me or you?
YOU can STAY away from me. You are the one who is obsessed.

A little over a year ago I came across some very concerning activity on my brother's phone. We were at a family event, and something with him seemed off; he was more withdrawn than usual (often, you're more likely to see the back of his phone than his face, but this was different). Later that night, as we were heading down to bed (we were sharing a hotel room) he had passed out drunk (very drunk) and as I prepped myself for bed I saw a notification pop up on his phone. Given his odd behavior, I took a closer look at the notification to at least see who he was talking to and maybe get an idea what was up. However, what I read rocked me. It was a very explicit message about sex with a dog.
Now, my brother is very predictable when it comes to things like internet security, so his phone's password was easy to guess. I followed the notification to get some context, and it came from an "anonymous chat" app. The conversation tied to the notification was a back and forth about sex with dogs. What's more, it was far from the only conversation. Dozens of contacts, ranging months, all talking about sex with dogs. Moreover, this was only one "room" on the app. As I explored further, he was active in several other rooms as well--and this is when my stomach really started churning.
In the first room's conversations, he was talking about wanting to, and having had sex with dogs in the past; though, in a portion of the conversations he was pretending to be a female, talking about the dogs penetrating "her" among other various lewd acts. In other rooms, we was talking about wanting to have sex with toddlers. Very, very, explicitly detailed conversations about having sex with newborns. Here too, there were a portion of conversations which stood out as a twisted fantasy/roleplay. He was describing doing things with toddlers in contexts and situation which I know for a fact to have not happened (at least, I really hope not). In another room still, were conversations about incest--again with a range of concerning believability, and what seemed to be pure made up fantasy; eg. in one he again pretended to be a female, who wanted to have sex with her brother.
​
For some further context, I wanted to see how he was acting when he wasn't anonymous; in his normal social media messenger. These conversations, while questionable, were much less concerning (relatively speaking)--save for a couple. In these, he again described explicit sex with a newborn; one girl he was chatting with he talked about wanted to knock her up, and that he hoped it would be a baby girl so that he could take her home from the hospital and have sex with her. I don't believe any of the beastiality stuff made it into his normal chat app--though given how long ago it was I can't quite remember, that first one about the baby really stuck with me though. The other questionable activity was mostly just him being a creep with girls. Sending unsolicited nude pictures, pressuring for some in return, explicitly messaging some while in "relationships" with others. (For the record, I have never met one of my brother's girlfriends beyond the odd FWB he'd bring home when he lived with me years ago).
​
The following morning I left before he woke up, as I was far too disgusted to face him. I messaged him later that morning about what I had seen, and urged that he needed to get help--but also that I'd be there for him after some time to process everything. He broke down, saying he knew it was an issue. He claimed it was all fantasy, and that he got off on the taboo, but that he had gotten addicted to it. For the most part, I believed him; in many of the conversations after all, he was pretending to be a girl, or making up situations. That said, I was still very concerned about the behavior and moreover how he was treating, misleading, and lying to all these girls he was chatting with on his normal social media.
He also opened up about having tried to kill himself several times, how he had gotten into some hard drugs, and gotten in fights he knew he'd lose "just to feel something". I assured him that all these secrets were safe with me, and that I would be there for him no matter what. For a time, he seemed to care about being better. We talked about how unhealthy it was, how he yearned for a normal healthy relationship, how he wanted to be better. I continued to urge him to find a therapist, and for a while he said he agreed--but that never came to fruition.
​
Fast forward to this week. I am visiting my parents for the holidays; and he has been living here with them for a few months as he transitions from a previous job he had into going back to school. He seemed more or less alright, but his behavior last night set off some alarms. He was again being very withdrawn and on his phone; so after everyone had gone to bed, I logged on to his computer to take a peak around (he had willingly given me the password when I showed up a few days ago, in case I needed to use the computer).
The first thing I found was a pinned web-page (which was super obvious, as all you have to do to see pinned pages is rightlick the browser icon). It was a (now down) website dedicated to (underage) teen models. Not child porn, per se, but young girls (12-13?) in bikinis etc (I found this after investigating archived versions of the page on Google). So, that was an immediate red flag. I checked his browser history, and not too surprisingly he had cleared it the day before I arrived. His download history, however, was intact. In the list, I found records for (now deleted) beastiality videos (labelled clearly as "girl fucks her dog", for example), but also a couple videos which included in their labels "5yo" and "7yo". These ones were particularly concerning, but having been deleted I couldn't confirm what they were--and they were downloaded from an anonymous "mega" download site, for which the links no longer worked. The beastiality videos, however, were from a beastility forum which still existed.
​
Visiting the site, his username and password auto-filled. There wasn't much there, but about a dozen conversations with other users. In these convos he was looking for "locals" with these shared... "interests". In one convo, he claimed to have had sex with two dogs in the past. Given this echos the conversations from last year, I don't know whether they are accurate, or he is again engaging in "taboo roleplay". The dates on the conversations ranged from this past spring up until a couple weeks ago--so he is still using the site.
​
Some more perusing of this computer, lead me to his "secret folder"--which was again easy to find as he had it pinned. Within, I found a few dozen photos of girls he likely got from social media (who, from thumbnails, all appeared of-age), and a handful of downloaded videos. The videos seemed to be more or less "normal" stuff though tended to have a theme of the girls using toys shaped like animal genitals. There was also a textfile of links to videos and names of adult actresses, about half of which seemed "normal" from the link names, and from sites which were pretty mainstream (pornhub, xvideos, etc). One group of links, however, stood out as links you'd only want to visit if you were actively seeking out viruses. Not too surprisingly, these links were for videos of a woman with her dog--about half a dozen videos or so.
​
He seemed to be pretty bad at hiding this stuff, so I was satisfied that I likely wouldn't find anything else if I continued sleuthing (Though, if there IS more, and it IS more well hidden... then I can't imagine what it could be relative to the very concerning stuff he left out in the open.) Moreover, I can only imagine what I'd find on his phone, as he uses his phone far more often than his computer. As a final investigation, I wanted to see how he was acting on social media, so I checked some of his more recent Facebook conversations. Unsurprisingly, more creepy behavior (nude pics, pressuring, pursuing multiple girls at once, lying, etc)--as well as recent (August) evidence that he has been using cocaine at work.
I don't know what to do. I didn't find anything *too* damning, aside from perhaps those couple very concerning downloads titled "5yo/7yo", though that isn't to say his beastiality obsession and apparent continued drug use isn't concerning.
​
Where do I go from here? He left for work this morning before I got up, but I really don't want to face him. I am beyond disgusted by him, and frankly, very concerned about what appears to be active engagement with possible child pornography, not to mention what seems more and more to be a real possibility that he has, and desires to continue, having sex with dogs.
​
TL;DR: Found brother's online activity ranging from very taboo and explicit fantasy roleplay, beastiality, pedophilia (including infants), and incest. Unsure how much is fantasy and how much he is actively engaging in. Compounded by his hard-drug use, and suicidal tendencies.
Edit: Some wording etc.

Artist: Björk Album: Utopia Released: 24th of November, 2017 Listen: Spotify Apple Music
Björk Guðmundsdóttir
For those of you who don't know, Ms Guðmundsdóttir, mononymously know as Björk, is an Icelandic art pop/experimental singer, songwriter, producer, DJ, street fighter, actress and activist. Björk turned 52 two days before the release of Utopia, her 9th album in her solo career that began 24 years earlier in 1993. In this time, Björk has released a further 2 soundtrack albums, Drawing Restraint 9 (2005) and SelmaSongs (2000) which she contributed to the film 'Dancer in the Dark' where she was the lead actress, which garnered her a "Best Actress" win at the Cannes Film Festival in 2000 and an Oscar nomination for "Best Original Song" ("I've Seen It All"), among other awards throughout her career (though never a Grammy). She has also released an iconic videography as well as an intimidating number of B-Sides (the singles section on Spotify looks like /popheads when a major album is released at midnight) and mixes outside of her studio albums.
I could honestly publish further write-ups for the rest of Björk's acclaimed discography, but instead all I can do is recommend you listen to them yourself and hopefully enjoy them as much as I do. Here are a few of many highlights to start you off: - Venus As a Boy - Its Oh So Quiet - I Miss You - Sweet Sweet Intuition - Jóga - Sod Off - All Is Full of Love - Original Mix - Unison - It's In Our Hands - Where Is the Line - The Dull Flame of Desire (ft. Antony/ANOHNI) - Mutual Core - Stonemilker
Utopia
If you Google "Utopia" like the guy in 'Creatures Features' googling love, you get the following definition:

An imagined place or state of things in which everything is perfect

Bjork's definition of the cliche is obviously a bit more eccentric:

How we can live with nature and technology in the most optimistic way possible

In 2011, Björk released her 7th studio album, Biophilia. The album was constructed using nature as an inspiration, such as the time sequence in opening track 'Moon' emulating the phases of the moon and was orchestrated using instruments she had made for the recording of this album. Infamously, she released the album alongside a series of apps which are now used in Nordic curriculum to teach children about nature. The album and its corresponding era, apart from being her most underrated in a career of being undermined in my opinion, kind of acted like a mission statement for arguably her second career peak.
Before the recording and release of Biophilia, Björk had received treatment for a vocal nodule. Simultaneously, she was getting more involved with activism and environmental advocacy whilst Iceland was going through a financial crisis after the banks crashed. Regarding all this, in an interview around the time of the Biophilia cycle, Björk said:

So, on so many different levels, there was this message that all the old systems don't work anymore, you gotta clear your table and start from scratch."

In hindsight, there is a some crushing cosmic irony here...
Fresh off the toes of Vulnicura in 2015, Björk released her 9th studio album, Utopia. Before the album could stand for itself musically, it was already going to be viewed in the context of Vulnicura, her "break up album" from husband and father of her daughter, Michael Barney. The album was all about the dissolution of a relationship and has been critically acclaimed whilst also being described as her darkest album yet. Despite the ending of a relationship documented on the album, behind the album an artistic relationship was forging between Björk and Venezuelan electronic/experimental producer Arca. Arca went on to tour with Björk during her Vulnicura Live tour whilst the pair started working on the follow up.
Our first introduction to the album arrived on the 13th of September, with a track titled "The Gate". The first thing of note when listening to the song was how much the track sounded exactly like what you'd expect a Björk and Arca song to sound like - rather than a song by Björk, with production by Arca like much of Vulnicura - with their most definitive trademarks on display. The track itself was another mission statement with the instantly-iconic lyrics:

My healed chestwound, transformed into a gate

... creating a bridge from Vulnicura which Björk described as hell to her as-yet-unnamed forthcoming album's utopia.
Then came the video. Directed by Thomas Anderson Huang and lauded by Pitchfork as the best music video of 2017, Björk and her Gucci dress accepted love into her heart through the hole left by loss of love (and had sex with herself, obviously).
With the album a few weeks away, most of Bjork's fans were worrying (or eagerly anticipating) about another potential leak, after Vulnicura leaked 2 months earlier than planned. And almost simultaneously, Björk released the second single "Blissing Me" as the album surfaced online. There is almost a poetic significance of this when listening to the lyrics of the blissed out, Vespertine-esque track.

Sending each other MP3s, falling in love with a song

Björk hasn't really been a "streaming" artist. As I mentioned before, she said "all the old systems don't work anymore". Like any artist that has been active since before the turn of the millennium, the industry and the diffusion of art doesn't work like they used to. Most of her fans buy physical CDs and vinyls, so talking about sharing songs (MP3s) with someone is just a lovely and cordially insular sentiment - whether she means sending them a Spotify playlist, a link to a leaked Openload file or ripping songs using YouTube to MP3 and making a CD for someone (guilty!). On top of this, Björk also released a video for the song, being exclusive to Facebook and Amazon Music the first week, and then a vertical version to Spotify - similar to Selena Gomez this year.
In the interim between Vulnciura and Utopia, Björk - through no intentional posturing of her own, but rather through some viral videos of her DJ sets and some interviews - came across as inspired and inspiring. Her personality spreading out from these moments, either as being a proclaimed fan of RuPaul's Drag Race, writing an unforgiving post about her music and the Belchdel Test, as well as other extra-curriculars such as her MoMA exhibition and a long-running professional relationship with fashion designer James T. Merry. As well as this, Björk called out, though not by name, controversial Danish director Lars von Trier for harassment - with whom she worked with on the 2002 film, Dancer in the Dark.
Then came the album cover. Shot by Jesse Kanda, almost-inseparable Arca collaborator, with the notably-heart-shaped facepiece provided by James and the striking makeup styled by Berlin drag queen Hungry. Unlike other artists, Björk tends to bring new creative people onto each album cycle, such as Arca as co-producer this time around and Hungry, whilst also frequently working with past collaborators such as Rabit and M/M Paris, who also made contributions to the album process. Unknowingly, this process of collaboration would be thematically present on her forthcoming "Tinder album".
On the 23rd of November at 0:00:01, my ears were deafened by the twerping of Venezuelan birds before the electronics landed and Björk floated into the song, opening with "Just that kiss, was all there is... Legs a little open, once again", showing that Björk is ready to love again. The song samples an early Arca track "Little Now A Lot", although completely blown up into euphoric clatters, as well as potentially having additional vocals from Alejandro 'Arca' Ghersi himself. The cascading sounds show an evolution in both Arca and Bjork's everchanging sonic pallet. From hearing the whole project, 'Blissing Me' and 'The Gate' seem like outliers in comparison to this track, which I would say is our first proper reveal of what Björk's utopia sounds like.
Follwing the aforementioned singles comes Bjork's first ever "title track". The song feels like a new beginning for Björk - as "The Gate" fades out we arrive in Björk and her flute band's utopia. The song's intro lasts a whole 1 minute and 29 seconds of flutes and bird songs before Björk begins singing "bird species never seen or heard before". The subsequent music video contains alien bird-like creatures flying around the digitally-imposed utopian landscape, essentially showing exactly what Björk is singing without any abstract interpretation unlike the rest of her videography. This is her image of a utopia. She later chimes:

My instinct has been shouting at me for years,
Saying, "let's get out of here!"

This is more than likely a reference to her past relationship with Barney, and she follows these lyrics up with:

Huge toxic tumour bulging underneath the ground here

...stating that at one point she probably felt her relationship was a utopia, but there were always underlying factors killing it.
On Vulnicura, the centrepiece of the 9-track album was a song called "Black Lake", a sprawling 10-minute diss track to her ex-husband. Björk has since said that she finds the song difficult to listen to and perform as she finds the subject matter partly embarrassing, Utopia's centerpiece is a direct response to the Vulnicura track. Where "Black Lake" was about finding the ability to express your ugliest feelings, "Body Memory" is about finding everything else you once knew. Björk was in a relationship for 13 years, but rather than starting her journey for finding herself again before co-habiting life, Björk goes straight back to the beginning. The first verse of the song is about, like a lot of Utopia, nature. The verse begins with Björk painting a picture of Iceland, before having an outburst of green-envy at the simplicities of nature. On "Alarm Call" from her 1997 magnum-opus Homogenic, Björk climbs to the top of these mountains and growls:

I'm no fucking Buddhist
But this is enlightenment

Perhaps Björk is angry at the cliffs "showing off" because they can stand strong and tall as they always were, and her outburst will not have any reprecussions, whereas her marriage ended viscerally with legal battles, media coverage and a young daughter in the middle. I think most people can relate to going back to your origins when your life is shrouded in that "fucking mist", and this is were Björk's body memory starts to kick in again.
In Verse 2, Björk retreads Vulnicura's "Notget", which was about coming to terms with the death of a relationship. Where the lyrics and beats on "Notget" portrayed anxiety and panic - in "Body Memory", Björk revisits the grapple of trying to keep the relationship afloat out of the fear of the unknown that comes afterwards, before her body memory kicks in again and she surrends to the "unknown", and most importantly, the future. Björk has a history with the word "claustrophobic", and here the brass, not unlike Volta, builds and animals start to appear, further expanding the landscape the song represents.
Verse 3 finds Björk back at her lovelonging present. She admits that the feeling of recreating and finding love again is as unfathomable as "threading an ocean through a needle". Having been with Barney since the year 2000, she feels like she doesn't know what she is doing, especially in a new society of singletons she was blind to before, where she is older and dating has changed with new rules and options (like Tinder). However, as an adult, her body memory returns and she goes with the flow of her "limbs and tongue". The instrumental here adds a choir as if she is ready to let other people into her life again.
Where verse 3 was about love, verse 4 is about sex! These are probably some of Bjork's most explicit lyrics, and her body memory doesn't seem to have told her to stop using beastiality as a metaphor. Nonetheless, Bjork's reintroduction to her single sex life has her comparing the bodies of her new partners in order to "redeem her body" by allowing her to do what she wants with it, using the imagery of "beastility" to embrace her wild side. The instrumental becomes more frantic here, with the choir now sounding more like Biophilia than Vespertine, as her love-life gets busier and more physical.
As I said in regards to verse 2, this song has a lot to do with coming to terms with the anxieties and adrenaline of the unknown. From 1986, Björk acted as the vocalist in Icelandic alternative rock band The Sugarcubes, although she admitted that the style of music she performed with the band was not her style. When The Sugarcubes disbanded in 1992, Björk started her solo career by moving from Iceland to the rave scenes of London and Manchester and the sounds of underground techno and acid house, which caught her ear and can be seen as the singularity of the electronic direction of the rest of her career. This is what inspired the sound of her first official album Debut in 1993, and inspired the themes of her sophomore, fan-favourite Post in 1995. She sings:

I wasn't born urban...
Love lured me here

For the first time on Utopia, she isn't singing about romantic love, but rather the love for beats and electronics. "As a music nerd, I just had to follow my heart. and my heart was those beats that were happening in England," she told TIME in a 2015 interview. It's interesting to compare this era of Bjork's career with her current career - before she was moving around to find her collaborators whereas nowadays her collaborative pallet resembles a scratch map, with technology allowing her to reach out to other artists more easily.

Into a stagnant state
My myths, my customs, ridiculed

The lyrics may allude to the idea that, in order to earn her career, Björk had everything stripped from her: her rural background, her customs and her comforts. Now she's back here again, with the security blanket of a long-term relationship gone and everything around her has changed. However, this time - several decades into her career, Björk doesn't have to prove herself to anyone, and her body memory has kicked in on a Brooklyn dance floor; she has found this part of herself again.
Verse 6 introduces a new theme which presides over the rest of the album: the patriarchy. Michael Barney famously sued Björk for custody over their daughter and this is likely one of the most upsetting things to happen in the deterioration of her relationship and the life she led under it. 8 minutes into the song however, Björk has gained and earned a fight-or-flight intuition from the landscape of electronics and animal cries before her, and most importantly, she plans to stand up for herself as a women - a message that lands fittingly into a year where women hit critical mass and finally men are being held more accountable than ever. The instrumental, although the fluttering precussion continues, settles down as if she is back to reality, and that she'll have to "deal with shit soon enough."
The epic ends by transitioning quietly into the first of two Arca-less songs, "Creatures Features". The instrumentation is co-produced by new collaborator Sarah Hopkins, who provides pan flutes to the quietest song on Utopia. The title may allude, again, to her animal instincts. This song further drives the most persistent themes on the album: music and looking for love. As I see it, Björk (whether intentionally or not) sings as if she is in dialogue with herself. Her voice is more muted than usual and presents itself as very inward. Personally, I relate a lot to the lyrics of this song as well as the succeeding song, "Courtship". Björk was likely referring to this song in her press circuit when she called her 9th studio album her "Tinder record". The song starts with the lyrics:

He turned me down, I then downturned another
Who then downturned her
The paralysing juice of rejection

Björk enters into a new dating game in a more skeptic social climate. Nowadays, love exists in data pockets and geocoding and courtship is initiated through little more than few seconds of physical attraction. Björk further explores the skepticism through the lyrics, such as:

Will we stop seeing what unites us
But only what differs

Björk could be saying that courtship is rather make-or-break when you move past physical attributes and onto more intangible aspects of a person, and as a divorcee these thoughts are probably always at the front of Björk's mind. This ideas leads nicely into "Losss".
Having slightly left Arca behind since "Body Memory", the signature Arca sound comes crashing back on the most abrasive song of the record. At this point on the album, Björk has accepted that the wound from Vulnicura will always sting a little and in finding new love, she accepts the pain she could go through again in order to feel "full satisfaction". Of all of the feelings Björk has explored and rediscovered, this track puts all of it in context of her most devasting loss and I believe is the most introspective song on the album. In a macro sense, Björk belongs to a group of female performers who present themselves as vulnerable and hard-as-nails at the same time. Here, Björk softens her edges contrapuntally to the onslaught of Arca beats and becomes vulnerable to fulfill her desires. The song then fucking goes off with the closest thing Björk will probably have to a drop this side of Homogenic, with wobbling voices as if her utopia is sending out transmissions for her return.
The hammering of beats doesn't stop there, as Björk fires shots at ex-husband Matthew Barney again, but this time more direct and clear on "Sue Me". Probably the closest Björk has come to a chorus in years, she repeatedly yells "sue me, sue me all you want" becoming more agitated but self-assured as the song progresses. Barney sued Björk as he believed she was spending too much time with their daughter, Ísadóra. Björk has released songs about her daughter in the past, for example, one of my favourite Björk songs "I See Who You Are" (especially the Arca-assisted Vulnicura-era live version) from 2008's Volta. Where she was affectionate and maternally proud on that track, Björk shows the defensive side of her motherhood here. Almost directly referencing "Quicksand", the closing track on Vulnicura, Björk widens her aim and blames the patriarchy for the way Barney is handling their family drama, using their daughter as either a prize or collateral damage.
From this point on in the album, Björk asks more of her utopia, and not just for herself but all women in general. Having blown off some steam in the past few tracks, for the first time on the album Björk starts to look forwards into the future, having already looked at her past. At this epoch in Bjork's life, she has earned the right (and integrity) to impart some wisdom on the younger generations beneath her in which she has a surprising number of fans. On "Tabula Rasa", Björk The Sage uses her pain and experiences to inform those who have a "clean slate", telling them that they have:

A clean plate: not repeating the fuck ups of the fathers

I have seen a few reviews and opinions online regarding these lyrics, men claiming that this sounds like a lecture they don't deserve. Personally, in a year where dictionary.com named "complicit" the word of the year, I think these men aren't listening. Regardless, Björk continues to talk to the generations, especially women, beneath her - telling them:

To rise and not just take it lying down

This year gave us the Women's March and the #MeToo movement, so these lyrics couldn't have come at a better time. And as mentioned before, she also called out von Trier as trying to belittle her ("[he] created for his team an impressive net of illusion when I was framed as the difficult one") and, well, dismissed the claim that she was difficult onset and ate a blouse ("this matches beautifully the Weinstein methods and bullying. I have never eaten a shirt. Not sure that is even possible"). She then finishes the song by reminding her audience that "you are strong". Sonically, this song takes a more welcoming approach and allows her to be heard, whereas on "Losss" and "Sue Me", the instrumental had Björk shouting to be heard.
"Claimstaker" sounds as if Björk has found her utopia and she is setting up camp. With lyrics alluding to Debut's "The Anchor Song", Björk goes back to nature and calls it her home, and mentions the cliffs she had disdain for in "Body Memory". In terms of literal sounds, the vocal layers throughout and on the outro recall her 2004 album, Medúlla - which could be seen as her first extreme turn into experimentation from which she will likely never return.
Björk leads her troop of flute players through a beautiful instrumental track named "Paradisia", her second instrumental track of her career following "Frosti" from Vespertine (2001) - which is notably a close sonic sister to Utopia, before transitioning into "Saint" (I tend not to notice when "Paradisia" has ended and "Saint" has begun when I listen to the album in the car). At first I had no idea what she was singing about and I didn't care because the climaxing flutes in this are like nothing I've ever heard before. Lyrically, the song is about music anthropomorphised as a woman, and its healing abilities - whilst addressing a number of people who might need some of that; from refugees to widows. Songwriters in general tend to paint ideas in an abstract sense, talking about spirituality and using metaphors, and Björk is one of them. However, a thing I enjoyed about this album is, despite the fact the sound of the album is like a wacky, woodwind world, the lyrics are more down to earth than ever. Her uses of locations (hospitals, Brooklyn, record stores), colloquialisms (singletons) and items (thermal blankets) grounds her to a relatable level.
The final track on the album is ceremoniously titled "Future Forever". Despite mentioning in the run-up to the release of Utopia that it is important that we have a "manifesto, an alternative" in "this time of Trump", the lyrics don't explicitly consider the macro-environment of the real world outside of her personal connections to nature and cities and the patriarchy. The first lyrics of the song...

Imagine a future and be in it

...are the closest we are going to get - but what a lovely message. In 2017, the existence of many minorities was seen as a threat or inconvenience to those in power. 800.000 Dreamers had their citizenship jeopardised as the US government rescinded DACA, families were torn apart by Trump's travel ban. Even outside of the US, gay marriage and abortions are still illegal in Northern Ireland despite these being legal in the rest of the UK (had to shout out my country!), it's illegal to be gay in 72 countries, 15 million girls became child brides this year... you get the idea. Björk telling everyone that she'd invite to her utopia that they matter, matters.

Hold fort for love forever

Back to the major themes on the album, Björk reminds everyone that, despite all she has been through, that love is still possible. She then sings...

Trust your head around

This is a reference to the last track on Homogenic (and unofficially the first song on Vespertine), "All Is Full of Love". Björk described the song at the time as "the birds coming out after the thunderstorm" which is fitting considering the inclusion of birdsong on this album and the "thunderstorm" that could be seen as Vulnicura. It is also worth noting that Vespertine was written about her newfound love and future husband Matthew Barney. "Future Forever" ends the illusion of a utopia, but the dream still continues even after the album has concluded.
As I mentioned before, Björk took a dive into experimental/electronic music in 2004 with Medúlla, although she was never-not left of centre even before then. I feel a problem with artists being described as "avant-garde" is that everyone has their own ideas for what this actually means, which is straight up contradictory. Many fans want Björk to return to Post-era Björk, other fans stopped playing attention after Vespertine and music critics criticise her lack of conventional melodies or her subject matters (nature mostly). It is the responsibility of the artists to push culture forward, not the music blogs and critics who get to write about it. Although Björk isn't exempt from criticism, it's hypocritical for non-musicians (even me) to evaluate how avant-garde a project is when it can be moving forward in any number of different directions - it's best we sit back and let the artists show us what art can be, then figure out how to interact with it. Therefore...
The reason this album is my Album of the Year is that it's themes completely sum up 2017 for me whilst sounding absolutely nothing like anything else I have heard this year (or ever). My conquests as a "singleton" and considering myself as a "music nerd" make me relate to a lot of the album personally, but outside of this the album itself is a masterclass in collaboration and creating worlds. Credit to a 52 year old for being able to write unwithheld about love and sex and pain and motherhood, and still somehow be impacting and relatable to a 21 year old and everyone else in between or otherwise. It is also reassuring that a female artist who is so many decades into her career can continue to deliver a consistently spectacular output and carve out a whole lane for herself to the point that "Björkian" is a recognisable adjective and she can still produce art alongside the next generation of artists she inspired years behind her, such as Kelela and Grimes - the keyword being "alongside". In Utopia, under Bjork's "matriarchal dome", everybody gets to be in it.
Favourite lyrics:
Blissing Me

Is this excess texting a blessing?
Two music nerds obsessing
Cliffhanger like suspension
My longing has formed its own skeleton

The Gate

My healed chestwound, transformed into a gate

Body Memory Half of the damn review was about that one song so honestly - the whole damn thing
Features Creatures

When I hear someone with same accent as yours Asking for directions with the same beard as yours I literally think I am five minutes away from love

Losss

Loss of love, we all have suffered
How we make up for it defines who we are

Sue Me

He took it from his father
Who took it from his father
Who took it from his father
Let's break this curse

Tabula Rasa

My deepest wish
Is that you're immersed in grace and dignity
But you will have to deal with shit soon enough

Saint

She reaches out to orphans and refugees
Embraces them with thermal blankets
I've seen her offer empathy to widows
She attends funerals of strangers

Future Forever

Imagine a future and be in it

Thank you for reading my thoughts on this album, I put more effort into this than some of my work at uni lol.
Points for Discussion: - What were your favourite lyrics from the album?

• What were your favourite "moments" on the album? Mine being the ~drop on "Losss" and a lot of her delivery, such as "sending each other these songs" while the instrumental momentarily buries her on "Blissing Me".
  
• What are your experiences with the album?
  
• When did you get into Björk, and how do you think this affected your experience with the album?
  
• How do you feel about Arca as a collaborator? How do you feel about his billing on the album (both on the physicals and on streaming)?
  
• What (inevitable) other iterations of the album or album tracks would you like to hear? We already have a different version of "Blissing Me" with serpentwithfeet and a 'harp version', is there anyone you would like her to work with in remixing tracks?