Rhyming basketball poems

https://reddit.com/link/1cx458m/video/tyvfowea5r1d1/player
I have recently made a AI based youtube shorts channel for kids. It's doing great so far. Tbh this is the first time I got some youtube success. Kids' channels are growing the fastest on YouTube. Channels like Cocomelon get more views than Mr. Beast. This is the first video I made for this channel. Everything from script to audio and video is done with AI. Here are the steps I followed
First go to ChatGPT. Now that 4o is free for everyone we have better outputs. We use ChatGPT to generate rhymes or songs. 4o is great at it. The prompt:
Can you create 10 children's rhymes of 4 paragraphs each that are educational and entertaining? Please include a variety of topics such as animals, space, fairy tales, everyday heroes like firefighters and doctors, seasons, and important life skills like sharing and kindness. Each rhyme should be catchy, easy to understand for young children, and incorporate fun facts or moral lessons where applicable. Feel free to introduce imaginative characters and vibrant settings to make the rhymes more engaging.
You have 10 poems now. Go to Suno .com and create an account, you can use google. Now from the create page, select “Custom Mode”. Copy paste one the the lyrics/rhymes. For style of music I used, “children rhymes song”. Give a title and click on “Create”. The results are surprisingly good! Download the audio.
On to the last step. Go to adobe express. From dashboard go to animate from audio or just search on google, “adobe animate from audio”. Select a character and background. Upload the sound file. Wait till the video is generated. You have your rhymes video ready. This takes like 5-10 minutes only for the whole process.
I hope you guys found this post helpful. I run an AI tools directory called seekme.ai. I’ve listed over 13k AI tools. This post is an edited version of my recent newsletter post. Consider subscribing to my newsletter to get more of these tutorials and use cases of AIs. Subscribe here

I like poetry and making poems. I like how the words sounds when they rhyme, I like how you can feel so much emotions with just a handful of words.
I want to show it to the world and friends but at the same time I cringe at it sooner or later and I just cringe and get embarrassed if people see it. Because honestly, my poems are something you won’t expect from me.
Do you feel the same?

...if we consider relaying the same idea in each style. Thoughts?

Eivor is a bit of a strange protagonist.
She’s basically flawless and without blame. She’s brash and bold, proud and unashamed — brave and wise far beyond her years, yet able to be soft and compassionate when not brandishing spears. She’s got a knack for leadership, a strong moral compass and an even stronger muscular system with which to enact justice.
And she’s got bars?
As someone not deeply versed in medieval European histories, imagine my shock and confusion upon discovering that Assassin’s Creed: Valhalla included rap battling.
My first experience with Flyting had me asking so many questions about what I just witnessed that I couldn’t wait to begin Googling. I figured flyting probably was historically accurate, but if that’s the case, then what else can it tells us about the medieval warrior and about Eivor’s characterization?
I set off to find out.
--
Wikipedia and howstuffworks combined gave me a robust definition of flyting.
A ritual, poetic exchange of insults practiced mainly between the 5th and 16th centuries. Examples of flyting are found throughout Scots, Ancient, Medieval and Modern Celtic, Old English, Middle English and Norse literature involving both historical and mythological figures. The exchanges would become extremely provocative, often involving accusations of cowardice or sexual perversion.
The idea behind flyting was to influence public opinion of the participants and raise both of their profiles. And each participant wanted to make himself look better than the other, even if they were friendly.
Not only that, but flyting’s also the first recorded use of shit as an insult. That right there is worth this whole essay and then some.
--
I came away from those definitions with some small Euphoria, as they reinforce what I already expected from Ubisoft — historically accurate and (arguably) immersive side activities grounded in realism.
Unfortunately, none of the flyting foes that Eivor faces in this fantasy are founded in any real-world flyters. I was particularly frustrated when I realized Fergal the Faceless and Borghild the Alewife’s Bane were fictional features, not real historical fiends of rhythm and rhyme.
Two of Eivor’s syntax competitors are “real” in some sense, however.
In Norse mythos, Odin, Thor, Loki, Freyja and more would handle their Family Matters over a flyte from time to time, dueling wits and words as competition and entertainment.
In fact, one flyte we do see in game — Odin as he flytes over the river with Thor in the Asgard Arc — is likely a reference to a real medieval Norse poem; The Hárbarðsljóð.
In it, Thor jaunts back to Asgard after a journey in Jötunheim. He comes to a junction in which he must jump a large river, and thus hunts down a ferryman to shepherd him across. The ferryman, Hárbarðr, is Odin in disguise. He then begins to diss guys.
Ahem. ‘Guys’ being Thor, obviously.
First, Odin drops a yo-mama joke:

Of thy morning feats art thou proud, but the future thou knowest not wholly; Doleful thine home-coming is: thy mother, me thinks, is dead.

He keeps going, taking more shots than a First Person Shooter, this time saying Thor dresses like a girl:

Three good dwellings methinks, thou hast not; Barefoot thou standest and wearest a beggar’s dress; Not even hose dost thou have.

Thor says watch your mouth before I clap back:

Ill for thee comes thy keenness of tongue, if the water I choose to wade; Louder, I ween, than a wolf thou cryest, if a blow of my hammer thou hast.

Odin replies by saying Thor’s wife is fucking another dude:

Sif has a lover at home, and him shouldst thou meet; More fitting it were on him to put forth thy strength.

The version we play out in game isn’t identical to the real-world poem, but carries some similarities; Thor’s threatening to cross the river to fight Odin as well as his boasting of slaying giants are present in each.
Ratatosk is the only other ‘real’ flyting enemy in Valhalla. While Odin doesn’t flyte with Ratatosk in Norse myth to my knowledge, the flyting against the squirrel is thematically accurate, at least.
Ratatosk’s purpose is to scramble up and down Yggdrasil, scurrying spoken messages from the eagle that sits at its peaks to the snake that slithers at its base. The nature of Ratatosk’s messages is in line with the act of flyting — the mischievous rodent carries falsehoods and aggressive statements to stir up drama and distrust between bird and serpent.
Flyting took place not only in poems and folklore, but in town squares and royal court. It was a facet of medieval life and social interaction. This weaving of prose then, in this time period, seemingly was just about as much of an admired skill as the swinging of a sword. It’s no wonder our unbreakable warrior Eivor is so proficient with word.
--
Like, really proficient with word.
I mean, I know it’s me choosing the dialogue options, but sheesh, is there anything she can’t do?
Actually, Eivor’s expertise in flyting is strange to me. It feels random and unearned — out of character, even. It comes more unexpectedly than Kendrick Lamar’s Not Like Us.
It probably only feels out of character, however, due to our modern understanding of proficiency with words versus proficiency with might. Our current interpretation of verbal ability compared to physical ability would perceive verbal ability as the ‘softer’ of the two skillsets. Physical strength is typically interpreted as tough and more dominant. You don’t expect to see an MMA fighter composing poetry, do you? The qualities that modern thought attributes to writing and physicality don’t mesh.
But in reality — and historically accurately in Valhalla — medieval warriors weren’t just blind berserkers. They were actually artists, poets and writers.
We’ve already demonstrated how Odin and Thor — Norse myth’s most famous warriors — carried out flyting. There are plenty more examples of the burly and the brawn, the Viking and the warrior breaking out poetry and song. Other poems and sagas include the same thing, among the most famous of which is Egil’s Saga — Egil, a tough Viking warrior, would frequently break out into prose throughout the saga’s telling.
Beyond Vikings though lie other other examples from around the world. The Illiad contains instances of public, ritualized abuse. Taunting songs are present in Inuit culture while Arabic poetry contains a form of flyting called naqa’id. Further, Japanese Samurai were known to be frequent composers of haiku, while Japanese culture also gave birth to Haikai, poetry in which vulgar satire and puns were wielded.
This historical accuracy ends up eliminating the randomness of Eivor’s flyting ability. Despite her verbal finesse feeling unearned, we can surmise historically that Eivor has practiced the wielding of words plenty in her life before we take over as the player. She’s dedicated time to this.
Now that we know why she has it, we can take a closer look at what it does for her.
--
So, Eivor can rap. She can match you with her axe or she can match you with her words. She’s just about unbeatable.
Her mastery of words demonstrates on some level that she’s not all Push Ups and might is right. She’s not all bruiser and bluster, burn and berserk. She’s an appreciator of the finer things — the more abstract, mental skills that require brain power, deftness and finesse.
This duality of strength and genius rounds out Eivor into a deeper, richer, more admirable character. More than just raw muscle in pursuit of glory, Eivor’s mastery of verse demonstrates her prioritizing not just her body, but her mind.
And it goes a long way for her.
Eivor can use her prowess with prose to progress past pointless plot points throughout Valhalla’s plethora of arcs and missions. It’s just a stat check in the end, but with enough practice flyting and enough charisma gained, Eivor unlocks new dialogue options that bend the world around her to her will.
Witch hunters in Eurvicscire on the brink of terrorizing Moira can be dispersed verbally rather than brawled or killed. There’s an entire riddle-solving fetch quest in Wincestre that can be skipped completely by telling King Aelfred’s abbot fuck off (figuratively). Eivor’s sharpening of her mind protects her body, saves her time, and allows her to frictionlessly fell her endeavors.
Her articulate advances don’t just alter her into admirability, they allow her to influence people and progression. With semantics from her mouth and twists from her tongue, Eivor can have her way whenever she wishes. In a game this large, I’m only left longing that the opportunity to make use of this charisma wasn’t relegated to niches.
Regardless, if medieval England is butter, Eivor’s tongue is the hot knife that behooves her move through her subduing more smoothly.
It all just goes to show that ̶m̶i̶g̶h̶t̶ flyte is right.

The Horus Heresy Book 18: Deliverance Lost by Gav Thorpe So last week, we got a lot of response and we would like to explain that we only hated it because we worked ourselves up talking and discussing it and coming to the realisation it didn't add up to a good book. I hope that clarifies things 😃
18 books in and we get our first full one from the point of view of the Raven Guard. The “Night Lords who got some therapy” have not been having a good time with Isstvan V and the massacring of their forces. We get to see what is required to try to rebuild a legion following the betrayal and then what happens when there is more betrayal.
This book builds upon the short story “The Face of Treachery”, also written by Gav Thorpe (go read our previous review Horus Heresy Book 16: Age of Darkness, an anthology : 40kLore (reddit.com) and give us an upvote hint hint) with the Alpha Legion setting up sleeper agents within the Raven Guard, which turns out to be highly useful as a new secret weapon is developed. Perhaps even more so than “Legion”, this story shows just how devious the Alpha Legion are.
‘What do you wish to ask of me, my son?’ ‘The Raven Guard verge on being a spent force, but I would rebuild them if I had the chance,’ said Corax. ‘Yet I cannot spare a warrior from the fighting to come, nor the time to raise up a new generation of the Legion. I seek your permission to launch attacks against the traitors, to mark our final passing in the glory of battle.’ ‘You wish to sacrifice your Legion?’ The Emperor seemed genuinely surprised. ‘In what cause?’ ‘I do not do it out of woe but necessity,’ explained Corax. ‘I must atone for the failure at Isstvan, for it will tear me apart as surely as my wounds did, if allowed to fester in my heart. Forgive me, but I cannot defend Terra, idly awaiting my fate to come to me.’ The Emperor did not reply for some time, his brow creased slightly with deep thought. Corax waited patiently, eyes fixed to the Emperor’s face. ‘I concur,’ the Master of Mankind said eventually. ‘It is in your nature to cry havoc and wreak the same upon your foes. Yet there is no need for sacrifice. I am reluctant, but you have my trust, Corvus. I will grant you a gift, a very precious gift.’
And another quote that we loved:
‘In Egypt's sandy silence, all alone, Stands a gigantic Leg, which far off throws The only shadow that the Desert knows: "I am great OZYMANDIAS," saith the stone, "The King of Kings; this mighty City shows The wonders of my hand". The City's gone, Nought but the Leg remaining to disclose The site of this forgotten Babylon. We wonder, and some Hunter may express Wonder like ours, when thro' the wilderness Where London stood, holding the Wolf in chase, He meets some fragments huge, and stops to guess What powerful but unrecorded race Once dwelt in that annihilated place.’
The primarch considered the words, but could not divine their meaning. His mentors on Lycaeus had taught him of poetry, of rhyme and metre and cadence, but he had never quite been able to see the appeal. Poems reminded him too much of the work-songs the prisoners had invented to keep up their spirits while they had hewn with pick and laser drill at the unforgiving stone of the penal colony. The last three lines left Corax feeling disquieted, though, as if the Emperor had suspected that his Imperium could not endure any more than the great empires of mankind's long history.”
Synopsis
“When I was a young boy My father took me into the city To see a marching band He said, "Son, when you grow up Would you be the saviour of the broken The beaten and the damned?" He said, "Will you defeat them? Your daemons, and all the non-believers The plans that they have made?" "Because one day, I'll leave you a phantom To lead you in the summer To join the black parade” Corvus Corax M31.1312
The Raven Guard are still barely alive on Isstvan V and are rescued by Commander Branne, who was guided by prophetic dreams. Beyond two ships sent back to Deliverance, his homeworld, Corax and his remaining forces head to Terra to see the Emperor. That’s good.
However, the Alpha Legion have surgically modified some of their Space Marines to look like slain Raven Guards and even implanted memories into them, to act as sleeper agents and pass on relevant intel. That’s bad.
Corax meets with Dorn and Malcador, and learns that the Emperor is a little busy currently and is unable to meet with him. Getting annoyed Corvus is met psychically by the Emperor, who gives him knowledge of how to access the remains of the ‘Primarch Project’.
With this knowledge Corax can restore his legion, possibly to even greater strength than before Isstvan.
But to get the knowledge, the Raven Guard have to get through a technological Labyrinth that is constantly changing and preventing them access (essentially a ‘Dungeons and Dragons’ moving maze). Corax uses his massive super duper primarch brain power and solves the labyrinth to keep it open. Inside is the ‘Primarch Project’, which can be used to make new Space Marines and quickly mass produce them.
The first of these new marines, dubbed the Raptors, are trained and deployed, striking a Word Bearer garrison hard. Estimates project the traitor legions will be outnumbered in months.
The Alpha Legion cannot allow this, so they rebalance the scales. A genetic poison, concocted from daemon blood, is introduced to the Raptors gene seed.
Soon the Raptors show rapid signs of mutation, morphing into hideous crowlike monsters. There is a certain irony that they resemble the same mutated Word Bearer possessed marines that struck them down on Isstvan. In a show of mercy or desperation, Corax allows the Raptors to remain. It is likely they will serve their legion until their use is no longer required. Omegon (the other primarch of the Alpha Legion) then attacks the gene seed project and chaos breaks out as the sleeper agents emerge and start slaughtering everything in their way. The mutated Raptors are released to fight back and prevent the Alpha Legionnaires escaping. Luckily, a Mechanicum super soldier has arrived to pick up the gene seed and I'm sure he is an upstanding member of society who can be fully trusted….
Corax is annoyed but determined. The remaining Alpha Legion agents are discovered and executed. It is time to strike against Horus and an unlucky unit of Emperor’s Children are wiped out by cunning lightning strikes and feints. The Raven Guard are victorious and plan to harry the Warmaster’s forces in their slow advance on Terra….
Review: Good ideas that do not always come together into a great plot. We genuinely really like this book but there are a few parts that just don’t work.
Labyrinth is an odd design choice; why have a primarch project that can only be solved by a primarch? It is very odd to seclude it in this particular way. Why not stick it on Mars in the Labyrinth? This is the second Labrinth the Emperor is keeping secrets in; why!? It doesn’t really achieve much by keeping it in there. Do we really think Pertarabo or Magnus would not be able to solve it if they turned up? Then they take the super secret project to a world currently experiencing a rebellion…Brilliant, just brilliant. Why not do the mass recruiting experiments on Terra until it is working? It might have made more sense to steal it and raise the stakes and betray Dorn and Malcador, but working for the greater good of the Imperium. It is a minor thing but it slows the book down considerably and you know Corvus is going to solve the puzzle, so there is no tension.
The attack on the Emperor's Children is such bolter porn. The attack on the Perfect Fortress is so not Slaaneshi; it's just a place that needs attacking by the Loyalists and is never mentioned again. Where are the weird palaces of pleasure and the civilians being turned into drugs?
Tinfoil Hat Time We do not have an answer to this one - but did the Alpha Legion send psychic messages to Deliverance? Because if not, why bother to have sleeper agents to a dead legion that was trapped on Istvaan V? Tinfoil Hat Time
I really enjoyed the scene where an Alpha Legion sleeper agent is nearly unmasked during combat training. He uses a move that is only known to the Alpha Legion, and is questioned by the other marines. “I saw someone use it on Isstvan” - he says and teaches the other Raven Guard. Internally he knows Alpha Legion marines will die due to his lapse in concentration.
I do fully sympathise with Omegon on throwing the whole Cabal plot out of an airlock.
Score: 7.5/10 - An solid good book with interesting ideas that just has a few issues from ideas that do not really make sense. We would recommend rereading this one for the cool bits and maybe breezing through the weirder bits. We are incredibly happy to meet Corax and have a more humanised primarch character who considers what they are doing and thinks about it.
Cover: The motion blur on Corvus is superb. He does look like a grim dark Beatle with that mop top unfortunately, but it does seem to suit him. Space marine is looking the right way finally. It might be set in the Perfect Fortress, but we are not 100% sure.
Heresy Watch: In the aftermath of Isstvan V, the Raven Guard have been decimated but Corvus has escaped and is determined to carry on harassing Horus with hit and run strikes. As a giant invisible birdman, he demonstrates he is more than capable of it. Interestingly, the Emperor’s Children stationed at the Perfect City seem to still be protecting the civilians there. The Alpha Legion are fully acting for themselves; they prevent the Raven Guard using the modified gene seed, give Horus flawed intel for it and end their relationship with the Cabal. They are acting for themselves. The Emperor is struggling to deal with the mess Magnus created and has to psychically communicate through Malcador (apparently 2 years before it happens. Let's not bring that up again).
Legion Watch/Number of Book(s):
Dark Angels: 4
: 2
Emperor’s Children: 7
Iron Warriors: 5
White Scars: 2
Space Wolves: 4
Imperial Fists: 8
Night Lords: 3
Blood Angels: 1
Iron Hands: 3
: 2
World Eaters: 9
Ultramarines: 5
Death Guard: 4
Thousand Sons: 5
Sons of Horus: 8
Word Bearers: 9
Salamanders: 2
Raven Guard: 4
Alpha Legion: 5
The Emperor: 7
Another entry for Rogal Dorn. Major characters from various traitor legions show up in the novel, inflating their count. Salamanders and Blood Angels are still forgotten about.
Tropes Watch: Are we the baddies?: 33
The Emperor has a ever shifting Labyrinth containing his secret projects, which has serious Bond villain vibes.
The Alpha Legion literally replace their faces with dead Raven Guard to become undercover agents.
It's definitely not gay: 19 “The Emperor reached out a hand and Corax felt hot fingers upon his brow. Energy flowed through the primarch, knitting his shattered bones, stemming his pouring blood, healing wounded muscles and organs. The primarch gasped, filled with love and adoration.” C’mon man, that's your Dad…. Given that description of injuries shouldnt Corax already be dead? Anyway?
How not to parent 101: 23
Oh Corvus. The poor guy is a little crazed in his quest to get the Raptor project working and it all goes horribly wrong. It was a big gamble and it did not pay off (due to Alpha Legion sabotage but still…)
The Emperor psychically meeting with Corax is an afterthought! And only when Corax gets mad. The son has literally returned home from hell and is confronted by evil stepmother Malcador who says that “dad is way too busy”. If The Emperor cared he would have put plans in place to send a message, help, or even just ask if Corax is ok?
Erebus!!!: 17 Besides the actual Erebus being here and worming his way as usual, Athithirtir is bloody annoying and tries to order Omegon to follow the Cabal. He fully deserves his fate, having alerted the Alpha Legion to what the Raven Guard were doing.
“Alpharius sat down, reluctantly accepting the Warmaster’s invitation, darting a warning look at Erebus just as the Word Bearer opened his mouth to speak. ‘Save your posturing for those that are swayed by it,’ said Alpharius. ‘Your change of loyalty proves the vacuity of your proselytising. You are privileged to stand in the presence of your betters, and should know not to speak until spoken to.’ The primarch enjoyed the contortions of anger that wracked the First Chaplain’s face, but Erebus heeded the warning and said nothing.” All it took was a primarch to finally shut him up.
Does this remind you of anything?: 32
Vicente Sixx (the Raven Guard Chief Apothecary) also doubles up as a singer and bass player in his spare time. His covert name is probably Dr Feelgood.
The super secure labyrinth is basically a one shot DnD dungeon.
Idiot Ball: 1 New trope this week after we keep noticing it. Why did the Alpha Legion sleeper agents stick around after the attack? They knew the Raven Guard knew there were agents, and they all get identified by their DNA and killed shortly thereafter. The Alpha Legion seem to be either amazingly smart and well prepared or absolute idiots. The Custodes have had it for weeks, so it's nice for someone else to have it. There is an argument for someone holding the Idiot Book for every book and we may list them all next week....

Unveiling the Allure of the Ghazal Form**
Summary:
A ghazal is a poetic form with Middle Eastern origins, typically composed of rhyming couplets and a repeating refrain. Each line of the poem shares a common meter, and the last word of the second line in each couplet rhymes throughout the poem.
Examples:

1. "The Beloved" by Rumi.
   
2. "Ghazal" by Agha Shahid Ali.
   
3. "The Ghazal of What Hurt" by Peter Cole.
   

Tips for Creative Writing:

• Embrace Repetition: The consistent refrain creates a melodic quality.
  
• Convey Emotional Intensity: Ghazals often explore themes of love, loss, and longing.
  
• Play with Imagery: Use vivid imagery and metaphor to enhance the emotional impact.
  

Questions for Exploration:

1. How does the repetition of the refrain contribute to the overall tone of the ghazal?
   
2. Can you think of other cultural traditions that incorporate similar poetic forms?
   

Additional Resources:

• Read the works of contemporary poets like Fatimah Asghar and Safia Elhillo for modern ghazals.
  
• Explore classical ghazals by Mirza Ghalib for insights into the traditional form.
  

Creative Writing Prompt:
Step 1: Choose a theme or emotion to explore in your ghazal.
Step 2: Craft the first rhyming couplet with a meaningful refrain.
Step 3: Continue developing the theme in subsequent couplets, maintaining the rhyme scheme.
Example:
In the night's embrace, a silent moonlight gleams (A) Lost in the echoes, the heart silently dreams (A) Whispers of love in the gentle night's streams (A) A ghazal's refrain, where longing redeems (A)

Growing up my grandmother always had cassette and VHS tapes that had little children’s poems/nursery rhymes/songs on them. They weren’t mainstream ones either, like Mother Goose or classic Fairy Tales. I remember one specifically that I used to know all of the words to. It was about a young child finding a caterpillar one day and when looking for it later realizes that it’s gone. They tell their mother and then they learn it’s become a butterfly. What I can remember loosely goes a little something like this: “I saw a fuzzy caterpillar crawling on the ground…..it was nowhere to be found…. 

….I asked my mom why…she said he became a great big butterfly!” (Please keep in mind I was about 4 singing these things so this is a very vague memory of the words)
The whole thing possibly is in an AB rhyme scheme and may have had a little tune to go along with it. My grandmother is very, very old now and can’t remember much of it either. We would really like to know what the name of the poem or even what media it may have been published in.

 Any ideas? Thank you! 

Hello! Ive been looking for this book for forever and the longer it goes the more I have forgotten!
What I remember: The book is a fantasy novel, I believe about a young girl going to a boarding school for magic? I remember it having a dark cover and the prologue was a poem, I think it was the school song and potentially had mention of a siren or counting to 13.
Some of this could be books mixed up with each other but the one thing I remember distinctly is the poem on the inner cover page being a rhyme and very witchy sounding.
I read this book in primary school when I was around 11ish (im 28 now) and it was in my school library. It was difficult to read, but it was definitely for the older primary school kids (grade 5-6) and was a novel I believe. It was also a paperback.
If you can help me find it, it would ease my mind so much! Thanks in advance!

One reason why people might resist a change toward using genderless language and genderless practices involves the difficulty of change itself. While genderless alternatives can make many tasks so much easier (such as using “they” variants instead of “he or she” variants for a hypothetical person), breaking the gendered habits ingrained in so many aspects of daily life might seem daunting for people. This is where media and literature come in.
In a world where gender’s pervasiveness might seem inescapable, media and literature can essentially “lead by example”, demonstrating cohesive stories, worlds, and people without gender. When more and more people are exposed to this kind of media, they will no longer have to search for genderless terminology or other information on their own time; instead, they can learn by osmosis, and this exposure will help them develop the skills and awareness to navigate and influence the world without any gender-based biases.

Here are some ideas for genderless media to develop:

Genderless Stories — Authors, poets, playwrights, and fan-fiction writers alike can incorporate gender-neutral names, pronouns, and descriptions into their stories. This enables character development and plot to be guided by more unique elements of the story rather than gendered stereotypes or plot devices. Previously gendered traits can also be subtly combined in an androgynous mixture, and this subversion of norms will draw audience attention as something novel and iconic.
Genderless Music — Songs, musicals, and operas can benefit greatly from a genderless lens. First of all, many gendered words (especially pronouns) are often extraneous to the message of a song or poem, acting as filler words or easy rhymes, which detract from the meaning or significance of the art. In an artform so sensitive to timing, it becomes essential that every word serves a purpose, and most gendered words only serve a gendered purpose, or they can be easily replaced by a genderless alternative. Furthermore, people singing genderless songs will not have to change the words to match their identity, so more people will be able to participate in the art without qualms.
Genderless Films and Videos — Whether you’re a content creator, photographer, filmmaker, or hobbyist, you can use gender-neutral language and gender-blind filming in your videos. Consider the relative positioning of the camera and subjects through a lens of objectivity, and try to avoid gendered influences on the focus of screen-time and audio mixing. This can be done through an emphasis on purposefulness, as gender should not be the decisive factor in the message of the art nor its development.
Genderless Video Games / Video Game Mods — Video games and other games provide an interactive experience that many people seek out to challenge their skills or relax. Making games or altering them to be genderless gives people an escape, not just from the rigors of the day but also from gender. Providing genderless options in character creation, interaction, and leveling allows people to navigate the world of gaming in a more genuine and accessible way without being stressed by these divisions.
Not only can genderless media and literature encourage more people to receive and realize a genderless world, but it can also improve the quality of writing and storytelling. Quite a few artists nowadays portray or design characters according to worn-out gendered tropes, and this diminishes the complexity and uniqueness of the characters themselves while also contributing to the biased behaviors of people exposed to these caricatures. This cheapening of characters and plots can be seen in the personalities, narratives, and camera angles used to portray characters of different genders.
By presenting media, and literature in a gender-neutral way, biases hidden by gendered justifications can be uncovered, art can become more significant and unique, and people can be enabled to realize a genderless world.
Feel free to comment here about genderfree, genderless, and gender-neutral projects you’ve come across or worked on. You can also make your own post under the Resources or Product Promotion flairs respectively.

Posdible long post ahead, sorry for the epic poem, pol!
First off, I'm a die-hard Knicks fan. The way they lost, after competing through so many injuries & the Pacers putting on a historical shooting clinic left me very sad. That being said, I either wanted OKC or Sota to win the West. As much as I like SGA, it was hard to pick OKC over Sota the more I saw Ant-Mans ability, talent & personality, along w/ how all the Wolves players played. I wasn't planning on watching the Game 7, but I did. I thought "Man, Minnesota fans must feel how I felt at halftime watchinh Indy-NY". I stayed to watch the team I wanted to win the West to the, what I thought was, bitter end.
I was so fucking wrong. It was an amazing game, & seeing that comeback against the reigning champions on THEIR HOME COURT IN GAME 7 WAS INSPIRING AS FUCK. It was truly a basketball clinic, & I'm gonna hop on the bandwagon for the rest of this season. That being said, I came here to admit this;
I was one of the ones who didn't think KAT & Rudy could work, & thought too much was given up for Rudy & that KAT was better off else where. I was also someone whl always cracked jokes about how soft KAT was. That picture of him posting Demarcus Cousins (I think) lives rent free in my head, & always makes me laugh. After this series, I feel KAT has buried those soft allegations, & no one can say the Rudy trade & Twin Tower duo can't do it. I'll be rocking my Minnesota KG jersey all day Wednesday & cheering for the Wolves.
Naz Reid.

Week 7: Limericks and Acrostic Poetry - Lecture and Discussion
Objective: - Explore the whimsical nature of limericks and the creative use of acrostic poetry. - Understand the structure and humor in limericks. - Discuss the artistic possibilities of using acrostic forms.
Day 1: Introduction to Limericks - Lecture: - Definition and characteristics of limericks. - Explanation of the AABBA rhyme scheme and humorous themes.

• Discussion Questions:
  1. What appeals to you about the whimsical nature of limericks?
  2. How does the AABBA rhyme scheme contribute to the humor in limericks?
  3. Can you think of any famous limericks or poets known for this style?

Day 2: Analyzing Limericks - Part 1 - Lecture: - In-depth analysis of classic limericks. - Exploration of the distinctive rhythm and structure.

• Discussion Questions:
  1. How does the AABBA rhyme scheme and rhythm contribute to the comedic timing in limericks?
  2. What humorous themes or scenarios are commonly found in limericks?
  3. Share your thoughts on the importance of concise storytelling in limericks.

Day 3: Analyzing Limericks - Part 2 - Lecture: - Discussing modern variations and themes in limericks. - Exploring the versatility of the form.

• Discussion Questions:
  1. How have modern limericks evolved in terms of themes and structure?
  2. In what ways does the whimsical nature of limericks allow for creative expression?
  3. Share examples of humorous scenarios that might work well in a limerick.

Day 4: Crafting Limericks - Part 1 - Lecture: - Step-by-step guide on crafting the first three lines of a limerick. - Emphasis on establishing humor and rhythm.

• Discussion Questions:
  1. What challenges do you anticipate in crafting the first three lines of a limerick?
  2. How can you establish humor and rhythm within the concise structure?
  3. Share examples of humorous scenarios you might explore in a limerick.

Day 5: Crafting Limericks - Part 2 - Lecture: - Step-by-step guide on crafting the final two lines of a limerick. - Emphasis on creating resolution and punchline.

• Discussion Questions:
  1. Why are the final two lines crucial in providing resolution and a punchline in a limerick?
  2. How can a limerick deliver a humorous twist or surprise within its structure?
  3. Share and discuss individual limericks, highlighting successful elements.

Homework Assignment: - Craft a limerick focusing on a humorous scenario or theme.
Study Guide Questions: 1. Reflect on the challenges of crafting the first three lines of your limerick. How did you establish humor and rhythm? 2. How did you approach creating resolution and a punchline in the final two lines of your limerick? 3. What insights did you gain from the process of crafting a limerick?
Quiz: Assessment on the understanding of limericks, their AABBA rhyme scheme, and the use of humor within the concise form.
Day 6: Introduction to Acrostic Poetry - Lecture: - Definition and characteristics of acrostic poetry. - Exploration of arranging words vertically to create hidden messages.

• Discussion Questions:
  1. What interests you about the creative use of acrostic forms?
  2. How might the arrangement of words vertically enhance the poetic experience in acrostic poetry?
  3. Can you think of any famous acrostic poems or poets known for this style?

Day 7: Analyzing Acrostic Poetry - Part 1 - Lecture: - In-depth analysis of classic acrostic poems. - Exploration of the different approaches to selecting and arranging words.

• Discussion Questions:
  1. How does the vertical arrangement of words contribute to the overall impact of acrostic poetry?
  2. What unique perspectives or insights can arise from using acrostic forms in poetry?
  3. Share your thoughts on the relationship between the hidden message and the overall theme in acrostic poems.

Day 8: Analyzing Acrostic Poetry - Part 2 - Lecture: - Discussing modern variations and themes in acrostic poetry. - Exploring the diverse ways poets engage with vertical arrangements.

• Discussion Questions:
  1. How have modern poets expanded the themes and approaches in acrostic poetry?
  2. In what ways does the incorporation of vertical arrangements broaden the possibilities in written expression?
  3. Share examples of themes or concepts suitable for acrostic poetry.

Week 15-16: Triolets and Kyrielles
Day 1: Mastering Triolets - Activity: Analyze a classic triolet for its compact structure and repetition. - Lecture: Discuss the characteristics and rhyme scheme of triolets. - Discussion: Share thoughts on the impact of repeated lines in a compact form.
Day 2: Crafting Triolets with Precision - Activity: Break down the process of crafting a triolet. - Lecture: Explore the use of repetition and economy of language in triolets. - Discussion: Share and discuss individual triolets, focusing on the success of repetition.
Day 3: Embracing the Kyrielle - Activity: Analyze a famous kyrielle for its repeating lines and rhythmic qualities. - Lecture: Explain the structure and thematic possibilities of kyrielles. - Discussion: Discuss the challenges and beauty of crafting poems with repeated lines.
Day 4: Writing Exercise - Developing a Kyrielle - Activity: Craft a kyrielle exploring themes of resilience or change. - Assignment: Write a triolet on a chosen subject. - Vocabulary Words: Refrain, Rhyme Scheme, Narrative Possibilities.
Day 5: Peer Review and Feedback - Activity: Peer review workshop for triolets and kyrielles. - Lecture: Discuss the impact of repeated lines in triolets and the thematic possibilities of kyrielles. - Discussion: Share insights gained from reviewing peers' work.
Study Guide Questions for Week 15-16: 1. Discuss the characteristics and rhyme scheme of triolets. How does repetition contribute to their impact? 2. Explore the use of repetition and economy of language in crafting triolets. 3. What defines a kyrielle, and how do its repeating lines contribute to its thematic possibilities? 4. Discuss the challenges and beauty of crafting poems with repeated lines in kyrielles. 5. Reflect on the process of crafting triolets and kyrielles. How did you approach the themes and rhythmic qualities?
Quiz: Assessment on triolets, kyrielles, and the impact of repeated lines in poetry.
Week 17-18: Ode to Joyful Ballads
Day 1: Writing Joyful Odes - Activity: Analyze classic odes for their celebratory nature. - Lecture: Discuss the characteristics and structure of odes. - Discussion: Share personal experiences or topics worthy of celebration.
Day 2: Crafting Odes with Precision - Activity: Break down the process of crafting an ode. - Lecture: Explore the use of vivid language and poetic devices in odes. - Discussion: Share and discuss individual odes, highlighting successful elements.
Day 3: Understanding Narrative Ballads - Activity: Analyze a famous ballad for its storytelling qualities. - Lecture: Explain the narrative structure and musicality of ballads. - Discussion: Discuss the challenges and beauty of crafting narrative ballads.
Day 4: Writing Exercise - Crafting a Ballad - Activity: Craft a ballad recounting a personal or fictional tale. - Assignment: Write an ode celebrating an everyday object or experience. - Vocabulary Words: Ode, Stanza, Narrative Structure.
Day 5: Peer Review and Feedback - Activity: Peer review workshop for odes and ballads. - Lecture: Discuss the celebratory nature of odes and the storytelling qualities of ballads. - Discussion: Share insights gained from reviewing peers' work.
Study Guide Questions for Week 17-18: 1. Discuss the characteristics and structure of odes. How do odes differ from other poetic forms? 2. Explore the use of vivid language and poetic devices in crafting odes. 3. What defines a ballad, and how does its narrative structure contribute to its storytelling qualities? 4. Discuss the challenges and beauty of celebrating everyday objects or experiences in odes. 5. Reflect on the process of crafting odes and ballads. How did you approach celebratory themes and storytelling?
Quiz: Assessment on the understanding of odes, ballads, and the use of vivid language in poetry.

1. Clerihew:

- *Definition:* A whimsical, four-line biographical poem with irregular meter. - *Example:* Craft a clerihew about a famous historical figure or a friend with a humorous twist. 

1. Quatrain:

- *Definition:* A stanza or poem consisting of four lines, often rhymed. - *Example:* Write a quatrain reflecting on the beauty of simplicity in everyday life. 

1. Double Dactyl:

- *Definition:* A light, humorous poem with strict structure and two quatrains. - *Example:* Create a double dactyl capturing a comical moment or character. 

1. Terzanelle:

- *Definition:* A hybrid of the terza rima and villanelle, with 19 lines and a specific rhyme scheme. - *Example:* Craft a terzanelle exploring the cyclical nature of seasons and life. 

1. Haibun:

- *Definition:* A combination of prose and haiku, often describing a journey or experience. - *Example:* Write a haibun narrating a meaningful travel experience, complemented by haikus. 

1. Golden Shovel:

- *Definition:* A form where the last word of each line is taken from an existing poem. - *Example:* Create a golden shovel poem using a line from your favorite poem or song. 

1. Villancico:

- *Definition:* A Spanish poetic and musical form, often festive and celebratory. - *Example:* Craft a villancico capturing the joy of a special occasion or holiday. 

1. Tercet:

- *Definition:* A stanza or poem consisting of three lines. - *Example:* Write a tercet expressing the beauty of resilience in the face of adversity. 

1. Sevenling:

- *Definition:* A seven-line poem with a specific pattern and often narrative in nature. - *Example:* Compose a sevenling reflecting on a vivid childhood memory. 

1. Palindrome Poetry:

- *Definition:* A poem that reads the same backward as forward. - *Example:* Write a palindrome poem exploring the balance between chaos and order. 

1. Sonnet:

• Definition: A 14-line poem, often expressing love or deep emotion, with various rhyme schemes.
  
• Example: Write a sonnet exploring the theme of unrequited love.
  

1. Haiku:

• Definition: A traditional Japanese poem with three lines and a 5-7-5 syllable count.
  
• Example: Craft a haiku capturing the essence of a serene moment in nature.
  

1. Villanelle:

• Definition: A 19-line poem with five tercets followed by a quatrain, using repeated lines.
  
• Example: Create a villanelle about the passage of time and its impact on memories.
  

1. Limerick:

• Definition: A humorous, five-line poem with a distinctive rhythm (AABBA).
  
• Example: Compose a limerick about a quirky character or situation.
  

1. Free Verse:

• Definition: Poetry with no set rhyme scheme or meter, allowing for free expression.
  
• Example: Write a free verse poem exploring the complexities of human relationships.
  

1. Acrostic:

• Definition: A poem where the first letter of each line spells out a word or message.
  
• Example: Create an acrostic using your name, describing your personality or aspirations.
  

1. Ghazal:

• Definition: A poetic form with rhyming couplets and a repeating refrain.
  
• Example: Craft a ghazal expressing the bittersweet nature of love and longing.
  

1. Tanka:

• Definition: A Japanese poem with five lines and a 5-7-5-7-7 syllable count.
  
• Example: Write a tanka capturing the fleeting beauty of a sunset.
  

1. *Cinquain:

• Definition: A five-line poem with a specific syllable count per line (2-4-6-8-2).
  
• Example: Create a cinquain describing the essence of a quiet winter evening.
  

1. Pantoum:

- *Definition:* A poem with repeating lines and a specific pattern, often used for reflection. - *Example:* Craft a pantoum exploring the cyclical nature of life and change. 

A ten-syllable multi-verse text related to the second decade of the Hijri was discovered near the city of Sulaimani in Kurdistan (Cave of the Thousand Men) by a young Englishman. Its weight is ten syllables in each verse and five syllables after it. It has endowment or peace... this weight is common among Kurds and famous poets such as (Saidy), (Molla Tharyan) and (Ahmed Bagh Kumasi) and... as well as the modern poets and teachers of Kurdistan, all poems and songs and sonnets They compose and sing themselves with the same ten-syllable weight... The Kurdish piece (Hormozgan) is said in the old Kurdish-Hawrami language and is important and worthy of attention among the nobles and scholars of Kurdistan. These poems also have rhymes, but in a conjugative way, meaning that both verses or, as it is called today, both stanzas have the same type of rhyme, and all the poems written by the Kurds of this weight are the same......
The pome :
{ hormazgān rimān ātirān kužān wē-šān šārdinā gawra gawrakān zōrkari arab kirdinā xāpūr gunā u pāla hatā šārazūrzan (žan) u kanīkān u dīr (dīl) ba-šinā mērd āzā tilī wa rūy i hūinā rawušt zarduštra mānawa bē-das bazīkā nē-kā hormaz wa hūickas. }
Translation :
{ The places of Ahura Mazdā were destroyed, the fires extinguished;They hidthemselves, the great of the great.The bully Arabs ruinedThe villages and towns as far as Šahrazūr. Women and girls went into exile, The noble(free)menweltered in blood.The religion of Zaraθuštra was left forsaken; (As if) Ahura Mazdā does not have pity to anyone. }
As you can see here, the Pahlavi language is the same as the current Kurdish language with a very slight change. This confirms that the Pahlavi language is an ancient Kurdish language, and this poetry is written in the ancient Kurdish language (Pahlavi). There are several people from our neighbors who claim that the Pahlavi language belongs to them, but at the same time they communicate with each other using one of the Arabic dialects mixed with Kurdish, Hindi, Turkish and French!! As a Kurdish woman, I can fully understand this poetry without even looking at the translation. This text is clearly written in the southern Kurdish dialect (Xwarîn), and is very close to the Sorani and Hawrami dialects of the Kurdish language. I challenge those who claim that the Pahlavi language belongs to them, to try to understand only a small part of this poetry without reading the translation! For your information, “Pahlavi and the Pahlavi language” are the same Fayli Kurds who live in Iraq and southern Kurdistan and speak the Fayli dialect aka "Pahlavi", and this confirms that "Pahlavi" is the ancient form of the Kurdish language.

A pantoum is a poetic form that originated in Malaysia and has been adapted into various languages. It consists of a series of quatrains (four-line stanzas) where the second and fourth lines of each stanza are repeated as the first and third lines in the following stanza. The pattern continues until the final stanza, where the second and fourth lines of the last quatrain are the same as the first and third lines of the first quatrain.
Key features of a pantoum include:

1. Repetition: The repeated lines create a circular, looping effect, giving the pantoum a unique structure.
2. Fixed Number of Lines: Pantoums typically have a fixed number of lines, often eight, twelve, or sixteen.
3. Rhyme Scheme: There is no specific rhyme scheme for a pantoum; however, a consistent rhyme scheme within each quatrain is common.
4. Narrative or Reflective Themes: Pantoums often explore narrative or reflective themes, and the repetition can be used to build on or alter the meaning of the lines.

Here's a simplified example of a pantoum:

A breeze whispers through the willow trees (1) Among the willow trees, the whispers grow (2) Leaves rustle softly in the evening breeze (3) The evening breeze, a secret it bestows (4) Among the willow trees, the whispers grow (2) Moonlight paints shadows on the river's flow (5) The evening breeze, a secret it bestows (4) As night unfolds its tales in soft tableau (6) Moonlight paints shadows on the river's flow (5) Stars illuminate the sky's vast show (7) As night unfolds its tales in soft tableau (6) A breeze whispers through the willow trees (1) 

In this example, lines 1 and 3 are repeated in lines 2 and 4 of the first quatrain, and the pattern continues throughout the poem.
😬😬😬😬😬😬😬😬😬😬😬😬😬
Silent flakes descend from winter's embrace (A) Covering the world in a blanket of grace (B) Softly they dance, a tranquil ballet (A) In their frozen descent, a gentle trace (B)
Covering the world in a blanket of grace (B) Each flake unique, a delicate design (C) In their frozen descent, a gentle trace (B) A wintry art, intricate and divine (C)
Each flake unique, a delicate design (C) Adorning trees in a shimmering attire (D) A wintry art, intricate and divine (C) Nature's masterpiece, a scene to inspire (D)
Adorning trees in a shimmering attire (D) Crisp underfoot, a carpet so white (E) Nature's masterpiece, a scene to inspire (D) A world transformed in the soft moonlight (E)
Crisp underfoot, a carpet so white (E) Softly they dance, a tranquil ballet (A) A world transformed in the soft moonlight (E) Silent flakes descend from winter's embrace (A)