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      "body": "Congratulations @nuclearsalad! You received a personal award!\n\n<table><tr><td>https://steemitimages.com/70x70/http://steemitboard.com/@nuclearsalad/birthday2.png</td><td>Happy Birthday! - You are on the Steem blockchain for 2 years!</td></tr></table>\n\n<sub>_You can view [your badges on your Steem Board](https://steemitboard.com/@nuclearsalad) and compare to others on the [Steem Ranking](https://steemitboard.com/ranking/index.php?name=nuclearsalad)_</sub>\n\n\n###### [Vote for @Steemitboard as a witness](https://v2.steemconnect.com/sign/account-witness-vote?witness=steemitboard&approve=1) to get one more award and increased upvotes!",
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      "body": "Hello @nuclearsalad! This is a friendly reminder that you have 3000 Partiko Points unclaimed in your Partiko account!\n\nPartiko is a fast and beautiful mobile app for Steem, and it’s the most popular Steem mobile app out there! Download Partiko using the link below and login using SteemConnect to claim your 3000 Partiko points! You can easily convert them into Steem token!\n\nhttps://partiko.app/referral/partiko\n\n![](https://d1vof77qrk4l5q.cloudfront.net/statics/partiko-poster-best-steem-app-for-your-phone.jpg)",
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      "body": "1.\tThat feeling when you saw on TV a street that you used to cross when you were in college. You remember the heat of the air, the colors of the surroundings: the barbecue grills, fishballs deep-fried in dark cooking oil, smoking students while in still their uniforms, sipping Cobra Energy Drink or Sting, and the San Sebastian Church looming like a vigilant, yet tolerant, sentinel.\n\n2.\tYou remember the girl you were once with, crossing this street. The two of you thought you love each other. You remember how her hair swayed as she walked, her front teeth, the red backpack she always carried, which you always offered to carry, but she always refused because she loves carrying that bag as if it held all of the memories in her life that she treasured so much. You remember the cigarettes the two of you were smoking and how the smoke formed transparent lines that curved into the empty space, leaving no trail of their existence.\n\n3.\tYou remember the countless hours you spent waiting for the next jeepney and how, once it arrived, you wrestled with the crowd, all the while pulling her hand, just so you could get a seat and arrive at her place, where the walls are silent and the ceiling whispers no judgment.\n\n4.\tSeeing the street on TV, you suddenly remember how all those times are now lost. And that now you are married to a different girl, and a child is smiling at you, calling you \"daddy\". And then you remember that memories are just memories, their realities has passed, and to be honest, you aren't quite sure if everything happened the way you remember it.\n\n5.\tAll you know is that there is the present. The on-going \"wow\" is happening \"right now\", some old movie said. And it's time, you tell yourself, to make more beautiful memories.",
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      "body": "Congratulations @nuclearsalad! You received a personal award!\n\n<table><tr><td>https://steemitimages.com/70x70/http://steemitboard.com/@nuclearsalad/birthday1.png</td><td>1 Year on Steemit</td></tr></table>\n\n<sub>_[Click here to view your Board of Honor](https://steemitboard.com/@nuclearsalad)_</sub>\n\n\n**Do not miss the last post from @steemitboard:**\n<table><tr><td><a href=\"https://steemit.com/steemfest/@steemitboard/meet-the-steemians-contest-the-results-the-winners-and-the-prizes\"><img src=\"https://steemitimages.com/64x128/https://cdn.steemitimages.com/DQmeLukvNFRsa7RURqsFpiLGEZZD49MiU52JtWmjS5S2wtW/image.png\"></a></td><td><a href=\"https://steemit.com/steemfest/@steemitboard/meet-the-steemians-contest-the-results-the-winners-and-the-prizes\">Meet the Steemians Contest - The results, the winners and the prizes</a></td></tr><tr><td><a href=\"https://steemit.com/steemfest/@steemitboard/meet-the-steemians-contest-special-attendees-revealed\"><img src=\"https://steemitimages.com/64x128/https://cdn.steemitimages.com/DQmeLukvNFRsa7RURqsFpiLGEZZD49MiU52JtWmjS5S2wtW/image.png\"></a></td><td><a href=\"https://steemit.com/steemfest/@steemitboard/meet-the-steemians-contest-special-attendees-revealed\">Meet the Steemians Contest - Special attendees revealed</a></td></tr><tr><td><a href=\"https://steemit.com/steemfest/@steemitboard/meet-the-steemians-contest-intermediate-results\"><img src=\"https://steemitimages.com/64x128/https://cdn.steemitimages.com/DQmeLukvNFRsa7RURqsFpiLGEZZD49MiU52JtWmjS5S2wtW/image.png\"></a></td><td><a href=\"https://steemit.com/steemfest/@steemitboard/meet-the-steemians-contest-intermediate-results\">Meet the Steemians Contest - Intermediate results</a></td></tr></table>\n\n> Support [SteemitBoard's project](https://steemit.com/@steemitboard)! **[Vote for its witness](https://v2.steemconnect.com/sign/account-witness-vote?witness=steemitboard&approve=1)** and **get one more award**!",
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      "author": "nuclearsalad",
      "body": "Me too.",
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      "author": "friendly-fenix",
      "body": "@nuclearsalad\nI like vaporwave, it's a fascinating concept.  \n🌬\n\n/FF",
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      "author": "nuclearsalad",
      "body": "![postmodernism wallpaper.jpg](https://cdn.steemitimages.com/DQmd6kbZrnRf4Xt16bCdnSzyG4cHN8TqFrsTHGR6WWxpwxE/postmodernism%20wallpaper.jpg)\n\nIntroduction\nIf you have been digging / living in the internet for a long time, you may have encountered this phenomenon / movement in-passing. Usually accompanied by images appropriated with early 80’s – 90’s pop culture, Japanese ideographs, and glitch art, Vaporwave has been lurking in various webpages, forums, file-sharing websites, music-sharing platforms, and social networking websites from its introduction in the late 2010’s up to the present.\nVaporwave is a subgenre of electronic music that utilizes sampling. Sampling is a piece of music usually taken from other songs from various genres that is digitally manipulated and appropriated to become a part of a particular musical composition dominantly used in more popular forms of electronic music like EDM, and Dubstep. Most of the samples used in Vaporwave are incidental music such as those from TV commercials, startup noise from electronic gadgets and gaming consoles, smooth jazz, elevator music, pop music during the 70’s, 80’s, and 90’s or even “alert music” from early versions of Microsoft’s Windows OS.\n\nBut Vaporwave is more than just the sampling of the aforementioned types of music. Its most defining characteristic is on “chopping and screwing” the said samples, putting them in illogical orders, slowing their tempo drastically until what remained are mere drones, layered with glitch effects, skipping, and drum beats, sometimes in varying time signatures. A disruption of the material occurs, and with it, the creation of something new (Oswald, 1985).\nThis “disruption of the material” served as the motivation for the author to try and poke at this cultural phenomenon and try to contextualize it to our contemporary cultural clime.\n\nBrief History of Vaporwave\nEarly digital footprints of the genre could be found in internet forums like tumblr and reddit, and there is stark difficulty in trying to narrow its geographic origin because it was purely conceived on the internet (wosx-, 2015).  What began as a seeming “…obsession to 80’s and 90’s subculture using glitch art, early digital graphic design… Japanese culture [and] the redistribution of old 80’s elevator music…”  (wosx-, 2015) developed into an instant internet sensation especially upon the 2010 release of two musical works described as the catalysts for what is known today as Vaporwave.\nNostalgia-induced sampling married with the musical advancements made available by technology at the time is the prime inspiration for creating the genre. The first of these was Chuck Person’s (alter ego of experimental electronic artist Daniel Lopatin) Eccojams Vol. 1, a mixtape consisting of samples taken from pop songs (as well as incidental music) of the 80’s, looped, spliced apart, slowed-down to a numbing crawl laced with echoes and shifting pitches, rendering its original material almost alien to its current form. This was the first of the “chopping and screwing” characteristic that would become a staple of future Vaporwave compositions. The second, and one that probably put more of a cultural (if not political) statement on its aesthetic was James Ferraro’s Far Side Virtual, intended as a collection of ringtones but developed into “…a digitalized ode to a rapidly changing world” centered on themes of internet culture, globalization, and consumerism (wosx-, 2015). Together, the two works laid the foundations for the musical aesthetic grounded on “…a subconscious association… ethereal and ghostly sounds with a world of dystopia and decay” (misteramazing, 2016) that is Vaporwave.\n\nVaporwave would find an increase in popularity with the release of Macintosh Plus’s (moniker of experimental electronic musician Ramona Xavier—who is also more popular by her primary alias Vektroid) Floral Shoppe in 2011. This is where Vaporwave found its definite association, and if one asks anyone listening to Vaporwave about how they learned of the genre, they’d immediately point to Floral Shoppe, in particular to the album’s most famous track: リサフランク420 / 現代のコンピュー (translated as “Lisa Frank 420 / Modern Computing) which sampled the song “It’s Your Move” by Diana Ross. This opened the genre to a wider audience to the point that bloggers and YouTubers began discussing about it on their pages and channels. They talked of its possibilities, and provided launch pads for discourse especially with regards to the genre’s theme. Experimental electronic artists emulated and developed the sound and improved the overall aesthetic of the genre, made studio albums of their own, and paved the way for more innovations, as well as the introduction of subgenres. It gathered a huge following that lasts to this day.\n\n\n\nVaporwave and Plunderphonics\t\nSince music made under the vaporwave genre uses the music of other artists, issues regarding intellectual property and copyright law bombarded its rise to fame. In a 1985 essay, John Oswald argued that a “sampler”, a micro-excerpt of a particular musical piece, is “…simultaneously a documenting device…”, a material thing made by a person, with traces of that person’s creative mind and hand, a mark of talent, a stroke of genius, distributed as a commodity, a good that is produced to meet a demand before being bought by someone, to eventually fulfill its essence, “...and a creative one…” meaning, as with all material things, such sampler, no matter how creatively produced or executed, a work of art, can become a means to the formulation of a new musical material, further adding that by doing so “distinctions manifested by copyright” diminishes to the point that the new material is highly different from the original. To describe such a compositional pursuit, Oswald coined the term “Plunderphonics”, a rather catchy terminology that Vaporwave falls under, albeit the digital manipulations are placed drastically in the samples.\n\nThis is the reason why if one would make a quick Google search for tracks under the genre, one will be surprised to find dozens if not hundreds of artists and tracks. Its tendency to “plunder” any music across genres and even time periods (with the aid of the Internet and a digital audio workstation) enabled literally ANYONE to make their own music. They are able to take samples, turn them on their heads, inverting their auditory finesse and transform it into something new (misteramazing, 2016) from the confines of their basement or bedrooms, thus establishing a do-it-yourself tendency in its production, something that angered major-label gatekeepers who capitalizes on expensive equipment and their roster of marketed musicians. Such a mode of creation challenged the musical paradigms of originality, individuality, and copyright. Put this way, Vaporwave becomes merely a zombified musical arrangement with pieces assembled from stolen “musical quotations” or samples from decades ago, whose intended meanings has been warped and eroded by the manipulations done to it (misteramazing, 2016). However, the act of sampling or gathering of “musical quotations” has always been a valid creative method since the original meaning of the quoted material has been changed, decontextualized, and has/will be fulfilling a new intended meaning—that may subvert, affirm, or refute, the meanings of the original, or a new meaning whatsoever (Gunal, 2010). \n\nVaporwave and Disruption\nVaporwave as a genre related to audio piracy, that of the manipulation of an original material, almost brings back the ideals of various art movements in history. Its audio-visual appeal for the most part stems from the artistic notions of the Cubists and the Dadaists. Subverting intended meanings by warping, eroding, and applying new effects causes an inexplicable discomfort yet a nagging feeling of euphoria to the viewer or listener, playing against a set standard of legal, artistic, and production norms, almost as if these movements or genres exist to upset an established system.\nIn his video essay “The Musical Theory of V A P O R W A V E”, Adam Neely (2016) defined Vaporwave as “…a countercultural musical and art movement that alternatively critiques and embraces consumer Capitalism.” This makes sense for etymologically speaking, the genre is alluding to the business jargon “vaporware”—products announced but were never released in the market, as well as the Marxist notion of “waves of vapor” (“…all that is solid melts in the air…” a famous passage from The Communist Manifesto), a meaningless repetition of social and economic ideals that society will remain subjected to under a bourgeois capitalist regime (wosx-, 2015). Most, if not all, of the samples utilized by artists in the genre are taken from various TV commercials, pop culture of the past decades, elevator music, and smooth jazz all of which are produced by corporations, industry-plants, and mainstream musicians in the mentioned economic system, thus becoming some sort of “Capitalist  corporate music” centered on commodities, or even intentionally commodified goods and services, to be bought and consumed. And by subverting these samples’ intended meanings (through digital manipulation, chopping, and screwing, free digital distribution on the Internet) a new meaning is created whose musical experience juggles from the subversion of the said ideology (through Vaporwave) to affirming its existence, albeit radically. \n\nThe material of Vaporwave is anchored on alienating the culture that Capitalist ideology introduced to us—the same culture that alienated us from what is truly essential in our lives. The Marxist notion of alienation because of an ideological regime describes the utter meaninglessness we feel in what we do: whether its work or on things that we think we enjoy. Our motivations for living has been dulled by the constant repetition and false promises of modern Capitalism, deceptively filled-in with stories of inspiration in our noontime shows, bits of wonder and fantasy in talent shows, a sense of pride and belongingness with the things we buy that we learned about from TV or Internet advertisements, distracting us, which in turn gears us to maintain the system thinking that no matter how empty it seemed, through hardwork and dedication to such a work, life would be better in this system. But various art movements like Vaporwave exist to counter this by disrupting an established set of norms, particularly in music and popular culture. By manipulating these easy-listening, mood-setting incidental music from an 80’s commercial of Coca-cola, itself a Capitalist institution, and manipulating it into nasal drones and glitched music, it is transformed into an audio-visual narrative that creates a nostalgic appeal, almost begging to become a commercial in of itself, but filtered with critique: an existing status quo is disturbed for this is not what you previously know, despite the familiarity; it disrupts your ideas of what can be done; the easily nostalgic becomes a springboard to what could possibly be and what could have been; this is not your typical musical production for you don’t buy this from iTunes, or any other mainstream music seller, but rather distributed online, or in case if you have to buy it, the artist takes all of the earnings and not the company nor the label; to gaze at the possibilities, that life is not the simple commercial jingle, but the slow-burning glitchy chorus veiled by the current regime. This is music in its elevated form, free from the clutches of capitalist ideology, and solely rests on the artist and its followers.\n\nVaporwave attempts to reclaim music from being a commodity or as a means to maintain the status quo, and fulfill any art form’s (and even entertainment, and popular culture for that matter) role to help its viewers / listeners see the world and society for what it truly is. And on-going developments in this genre, musically and aesthetically, with the rise of modern lo-fi and Bedroom Pop, should continue to underscore this purpose. For any form of art or music that is aimed to safeguard a pre-existing status quo is devilish and not for human consumption.\n\nReferences:\nGunal, Atakun (2010, April 6). The Age of Musical Reproduction and John Oswald’s Plunderphonics. Retrieved from http:/ /atakangunal.com/writing/plunderphonics _gunal.pdf\nmisteramazing. (2016, December 8). Vaporwave: Genre Redefined [Video File]. Retrieved from https://www.youtube.com/watch?v=xJwqp0IByto\nNeely, Adam. (2016, October 24). The music theory of V A P O R W A V E [Video File]. Retrieved from https://www.youtube.com/watch?v=QdVEez20X_s&t\nOswald, John. (1985). Plunderphonics: Audio Piracy as a Compositional Prerogative. Retrieved from http://www.plunderphonics.com/xhtml/xplunder.html\nP, Mr. (2016, November 22). Daniel Lopatin releases remastered version of Chuck Person's Eccojams Vol. 1. Retrieved from https://www.tinymixtapes.com/news/daniel-lopatin-releases-remastered-version-chuck-persons-eccojams-vol-1-0pn\nReynolds, Simon. (2010, July 6). Brooklyn's Noise Scene Catches Up to Oneohtrix Point Never. Retrieved from https://www.villagevoice.com/2010/07/06/brooklyns-noise-scene-catches-up-to-oneohtrix-point-never\nSTLLR. (2016, May 26). Vaporwave - An Aesthetic Documentary [Video File]. Retrieved from: https://www.youtube.com/watch?v=oMG-P3ZbXNk\nwosX-. (2015, June 10). Vaporwave: A Brief History [Video File]. Retrieved from: https://www.youtube.com/watch?v=PdpP0mXOlWM&t \n\n*Photo grabbed from Google",
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      "body": "![18252754_1754292058216022_897060218200915968_n.jpg](https://cdn.steemitimages.com/DQmPLzdeRwQi83xaWaW91ud37Y1AxKqiodFvgzqA5kekEeF/18252754_1754292058216022_897060218200915968_n.jpg)\n\n1.\tThere is a different kind of sadness gripping my heart these past few days. I probably got this from listening to too much lo-fi hiphop beats, or to the latest videos of Levni Yilmaz (I’ve always been sad watching his videos, which I’ve been doing since 2009, yet feel some sort of pleasure by doing so). I consoled my wife and she offered the best she can, but the feeling won’t budge inside me. It remained there like some caterpillar using my body as its cocoon.\n\n2.\tThere are times when I find myself solitary strolling silent streets at night, looking up at windows wondering what went wrong. There is something about curtains that gives me a sense of urgency and privacy. Like people are always fighting or fucking behind them, as if saying “Something’s happening and you don’t need to know. You don’t have to know.”\n\n3.\tI look back at past decisions thinking if I made the right choices. I do this not because I regret what is currently going on in my life, but I do this because I can’t help but wonder how different things would have been had I decided differently. After secretly smoking a cigarette, it will dawn on me that there is no such thing as a wrong choice (and by extension, no such thing as a right choice). We simply choose. I chose, to this and not, not that.\n\n4.\tThere comes a point where a seemingly linear narrative of life branches out into a chaotic doodle-esque pathway, like some abstract painting of a blind man in a dark room at night.\n\n5.\tAn old man desired for the younger version of him to do better. The “better” is only better for the former and the latter, for the latter would always be young, always high and dry, a little bit drunk, inside that time frame the former can never go back to. If the latter had been better, the old man would not desire for “better”. To quote Zizek, “And so on and so on.”\n\n6.\tCity lights sparkle as headlights stream from the streets below. I see myself atop a really tall skyscraper smoking while drinking some beer. Always, there is the desire to jump, but (always) I will not do it. There is a sadness inside this heart, but if we always lived in the caress of happiness, then what are we all so happy about?\n\n7.\tThe thing about growing old is that day by day you realize you are growing old. It’s not the fact that gets me. It’s the fear.\n\n8.\tTo paraphrase Oasis: “Someday you will find me caught beneath the landslide of life and its utter meaninglessness.”\n\n9.\tBut in hindsight, there really is nothing to be sad about. I’m sad about the past because I wish I didn’t drink that last bottle or smoked that last joint. But without it, I wouldn’t have desired for new experiences to live for, right?\n\n*Title is from the song by Frankie Cosmos",
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      "body": "![18013676_1868001596788749_8466832952326619136_n.jpg](https://cdn.steemitimages.com/DQmaUg5GNxhXr8Db13ZXSAtwWEtwTvwNqDGZSa44EHX7PNF/18013676_1868001596788749_8466832952326619136_n.jpg)\n\n1.\tIt’s more convenient to look at the mess and point at a different person. Ask them to clean it up, pick up the pieces, probably even scrutinize the way they fix it. Laugh at mistakes, spit out harsh comments as everything crumbles back into a mess.\n\n2.\tIn my 25 years, I’ve broken a lot of pencils. Newly-sharpened ones only last for mere minutes for I etch every word deep, as if paper is my skin, the pencil a blade holding all the pain.\n\n3.\tThere’s something utterly melancholic about pencil shavings and broken points. The former describes all the attempts I did dressing-up as some(thing)one new. The latter the moments I thought meaning can be measured with crescent smiles and saxophone sunsets.\n\n4.\tAs if a new life can be lived in, while the other life stays the same also. Two universes in parallel strings of existence and I’m there to see both. \n\n5.\tI strive to make points while constructing frail sentences, but I never reach it. Syntax blockaded all meaning. The undo button was non-existent.\n\n6.\tWhen I walk on crowded city streets, I feel sure that I’m tracing linear points in an infinite plane of hopes and dreams. Then later on find out that infinity highlights urgency but diminishes certainty. The way weather patterns dance across a geography, and we all fail to predict. The sun shines with its middle finger pointed at my rainproof self.\n\n7.\tI bring umbrellas on sunny days, a raincoat in summer. Meanwhile, my shoes are faulty inventions in the might of city floods. \n\n8.\tI remember trying to make sense. I smoked all the cigarettes in the world and strolled the university on foot, thinking about theory and philosophy, wondering if windows will open. I reach out hands like a drowning man calling for help, but the moment someone was there ready to grab hold of me, I amputate my own hand and let the depths suck me in.\n\n9.\tWhen I wanted to get married, my family told me I completely missed the point. My grandparents said the same when I started asking about my father’s other family. I look at my son and tell myself that I never needed to get the point.\n\n10.\tA granite fragment remained in my heart. Each beat a reminder of its presence.\n\n11.\tMy fingers have become familiar to the texture of sharp fragments, broken shards. I refuse to wear gloves and prefer to reconstruct bare. They say with hemostasis, the skin learns to toughen itself. If only the same applies to soul, then these tears would probably stop.\n\n12.\t It’s okay to be broken, because there’s always repair. But if brokenness becomes frequent, how long before it becomes abuse? I never learned to forgive anybody else, let alone myself. I stare at mirrors and imagine a sledgehammer in my hand. There’s a desire to break, but the act of picking up the pieces tires me.\n\n13.\tI’m too sore to cry. I’m sick of sharpening all these pencils pretending there are points. I laughed at the world while the abyss stared at me with bloodshot eyes, shaking its head lightly.\n\n14.\tI sweep up the mess and tell myself they’re gone. My wife told me she forgives but how can I be sure? How do you feel forgiveness? How do you feel you are forgiven? How do you forgive?\n\n*Title is inspired by the song by Frankie Cosmos",
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