Friday, December 11, 2015

The adventure of Devin and Sid:

The adventure of Devin and Sid:
Sid: Look, yeah, I'll ask steve if he got any 420
Dev: that right that right, wait yo, who iz steve?
Sid: Steven, homie i told you about him
Dev: Boii, I can't keep up with all the delicious man mean after chinito!
Sid: well, really steven and jaime
Dev: I can't, you and your latin meat yo.
Sid: so spicy
Dev: you racist
Sid: yeah well they don't talk to me anymore
Dev: wait when you getting the stuff tho, impo'tant matters, keep focused!

Antonio discovers Twax:

Antonio discovers Twax:

A: hey so this is where you live?
T: yeah, I live with my parents...I used to live alone, on my own, when i moved out when I was 17. But you know, it got me here.
A: oh, yea... Tina?
T: yea, so you gonna fuck me?
A: yeah...I you got poppers?
T: yeah, you party? oh shit no, yea you don't
A: yeah I think Im allergic or something
T: k... kk... I don't suck dick man... I have a boy you know?
A: yea I get you. k, you got lube bro?
T: yeah yeah. aw shit no, lotion okay?
A: sure...
T: K... let's go, Let me just set up one thing first.

//They start taking off their own clothes. Twax sets up the TV, and plays porn. There isn't any sound, and then some R&B/HIP HOP comes on overlaying the porn. Lights fade.//
//lights up, the two start putting on clothes//

Twax: you like that shit?
Antonio: yeah? what's that called?
T: its a popper trainer, its on Xtube all over the..... place...yea...tells you when to huff and when to take that shit.
A: cool i'll look that up.
T: k. let me clean up okay? I need to finish some things over here, can you please wait in the car?
A: yeah I will.
T: don't leave me okay? please don't leave me? please? wait, i'll be 5 there in 5 min.
A: right due. oh btw you need to make me a CD of the music, it was dope!
T: yea lot of dudes say that, they like my music. but that's my life, I love music. I'd love to get into that, you know, I have, tho, but music is my life, a lot of people say that. k don't leave me k?
A: right.

//antonio gets into the car and waits, listens to NPR talk about racism in the supreme courts//
//Twax enters with 2 sprite cans of soda//

Twax: sorry dude, I didn't have coffee
Antonio: all good, I don't drink that but that's cool.
T: thanks for driving me to work, it's just a right, then all the way down.
A: yeah I don't know Hayward that well, so just keep directing me.
T: cool.
A: so you have a man?
T: yeah, he cheats on me a lot but I love him.
A: what's going on? I mean you just fucked me?
T: Yeah, I mean.... he fucks other dudes, and I fuck other dudes, and its hard you know. But I love him and he loves me. like yeah. but we are exclusive. I've asked him to have an open relationship, but he don't want me with other guys like that?
A: yeah you should just have an open relationship. fuck other dudes, and date each other.
T: yeah but its hard with Tina. like it's gotten rid of all my friends. not like I need them anyways. It's ruined my life. but I still have a house and live with my parents. so I'm cool. I just have him, even if when I leave him he's looking for another dude to get high with, I know he say he's not fucking anyone else, but the moment he closes the door, he's looking for his next hook-up to pick up. our addiction is killing, us, we need rehab before it kills both of us.
A: yea...
T: yo you can leave me off here, this my work
A: okay... bye.
T: yeah keep the soda. thanks for the ride.
//Twax leaves the car//
Antonio: he's not going to work...I bet there is a pick up here....I wonder if Devin knows this dude...


Saturday, December 5, 2015

Las Vegas Reflections

He told me, even in his drunk state, that he liked me because my eyes were caring.
Even when I was silly, warm, cold or critical, my eyes cared--I was not empty.
Did he see my glitter?
All that glitters is not gold.

World AIDS Day

On ‪#‎worldaidsday‬ I am thankful to be on ‪#‎prep‬ and have worked with ‪#‎crush‬clinic ‪#‎research‬. I am staying ‪#‎HIV‬ negative, and loving my HIV positive friends. As we people of the world evolve, so should our ‪#‎sexual‬ ‪#‎health‬practices. I am ‪#‎thankful‬ for the many ‪#‎freedoms‬ to ‪#‎love‬ I have enjoyed, and I look forward to the end of this ‪#‎disease‬ on ‪#‎humanity‬.

Boo Kawaii Professionals

The Adventures of Desun Oka and Cuauhtii:
D: So boo you working on papers?
C: No, not yet, I am mostly in rehearsals, getting ready for final showings, and reading a lot... I need to finish the physical stuff before I write.
D: I see I see, cool... Like OMG boo! You're doing it! And soon, you're gonna be a professor!
C: Yup at Harvard, that's the goal, create a new kind of dance program there.
D: That's so cool! Dr. Cuauhtii, Professor Peranda.
C: Yes, that, or Professor Okanda -- I like that one better.
D: Hehe oh yeah?
C: Yup! Then we can be professors together!
D: And be super cute?
C: We'll be hella kawaii!!!

Hunky Boo Dangerous

Adventures of Desun and Cuauhtii :
C: see? He's a hunky boo huh?
D: mmmmm Latino muscle boo.
C: what?! You like him?!
D: yup colonthree emoticon
C: I knew it! You're gonna leave me for him! T.T
D: hehe woops I slipped and fell on his face.
C: T.T
D: hehe colonthree emoticon
C: that's it! No more hunky Latino boos for you!
D: but... But...
C: haha! >:D
D: whatever boo

Boo Words

The adventures of Desun & Cuauhtii:
C: I love you. I was telling my friends at school about how awesome, smart, cute and fun you are.
D: Yeah, I'm pretty cool.
C: ...and how dorky you are too...
D: What? Boo, what do you mean?
C: well you know, like when I met you, that one time, I thought you were thinking something profound with your pensive look towards the horizon...but it turned out you were just looking at an airplane...
D: haha! oh yeah boo! Looking at planes!
C: I was like, "what are you thinking?". And you were like, "huh? no i'm just looking at a plane". I was so like so done! I just couldn't any more, oh god no!!!
D: Hehehehe whatever boo, it turned you on too, though, right?
C: yeah, I was done and also on. You know not turned off, but turned on, but also done.
D: and you wanted to cuddle with me right?
C: oh my God yes. I was so Done'N'On... is that a word? donenon? It is now. I was Donenon. I was so done, but turned on, and all I wanted to do was cuddle with you, and your cuteness.
D: awe boo, me too!
C: you're crazy
D: I know. But i'm also really inspirational...for artists like you who need inspiration.
C: -.- ....right...
D: hehehe ^.^

A conversation with the Glitter Shaman and Antonio

A conversation with the Glitter Shaman and Antonio:
A: I have a problem.
GS: yes, what is it?
A: I feel uncomfortable with love. Well, really, I guess, the lack of love I see in the world.
GS: Tell me more.
A: No, I mean, I feel weird when people try to hide their love. I get embarrassed when other people are embarrased to show their love. Like, you know public display of affection... when boys are awkward, I get awkward. Does that make sense?
GS: Yes, it does.
A: Like, why do people pretend not to be in love?
GS: There are a lot of reasons. Some people are afraid to show their glitter. Some people are taught that showing their glitter is rude. Some people get scared of offended when they see other people's glitter.
A: oh....
GS: But I am for Radical Glitter-- or Radical Tenderness, as Guillermo Gomez Pena would call it--he, another kind of shaman...
A: huh?
GS: Radical Glitter is being happy, okay, safe, and empowered by the sharing your love without fear. A freedom Nina Simone sings about often. Radical Glitter, Radical Tenderness is loving without fear. It is know that showing your vulnerabilities, love, emotions, deep desires is normal, okay, and a radical act. That showing glitter in any capacity is transgressive. Thus, its a transformative act--changing our world, for what I see, as better.
A: oh....
GS: People are not taught to be transgressive. Radical Glitter is often a new thing for them. And that's okay. It can start with you. Be willing to continue to show your glitter and love the lovers who dare not show their love. It may help them activate their glitter.
A: Oh, okay. Thanks. I will try. Yeah, I think if they showed their love more in an open okay way, I would feel better, cuz you know, we can all be loving together, and not hiding, or passive, right?
GS: It is always better to be honest with your glitter.

Friday, December 4, 2015

Email: Honoring the Victims of the San Bernardino Tragedy

Dear Highlanders,

Our thoughts and condolences are with all those affected by the shooting in San Bernardino this week. We grieve for all the victims, but this tragedy is especially poignant at UCR because four of the victims were members of the UCR family.  Two of those killed and two who were injured are graduates of our university.  I’ve included brief information about each below:

Sierra Clayborn grew up in Moreno Valley and graduated from UCR in 2010 with a degree in biochemistry.  Only 27 years old, Sierra was dedicated to her job as an environmental health specialist for San Bernardino County and is remembered as someone who was always smiling and always willing to lend a hand.  Sierra was among the 14 people killed on Wednesday.

Damian Meins graduated from UCR in 1978 with a degree in economics.  Damian spent nearly three decades working in public service for both Riverside County and San Bernardino County.  He also taught at St. Catherine of Alexandria school in Riverside and each year dressed as Santa for school pictures. Both of his daughters are graduates of UCR as well. Damian was among the 14 killed on Wednesday.

Denise Peraza is an environmental health specialist for San Bernardino County and received her master’s degree in environmental science from UCR in 2013.  She also teaches a course in earth science at Chaffey College in Rancho Cucamonga.  Denise was among those wounded and is expected to recover.

Jennifer Stevens grew up in Redondo Beach and graduated just this past June from UCR with a degree in environmental science.  During her time at UCR, she volunteered with Sustainable UCR and had also been a member of our women’s soccer team.  Jennifer was among those wounded and is expected to recover.

I also take this opportunity to remind you about our campuswide candlelight vigil today at 5:00 p.m. on the plaza of the Highlander Union Building honoring the victims of the shooting.  I hope you will join us in person and in thought as we mourn this tragedy.


Kim A. Wilcox

Sunday, November 8, 2015

the 4 efforts of glitter

To me, there are four aspects of effort which balance the life of glitter.
It is through the excavation of these balanced four in your times, in your spaces, that the affect of glitter is in its most pure and full force.
....I know, you want help to define these axis of energy--well, that will take more than a few hours of speaking and listening....
--A message from the Glitter Shaman

Gone Holiday?

Gone Holiday? :
Trev: yeah and this is where the magic happend
/shows sean his room/
Sean: ew gross!!! 
/sprawls across bed, and plays flirtatiously but also grossed out/
Trev: Thanks....
Sean: Oh what is this thing? A bracelet? ...look at that, it fits on my wrist! Kinda cool metal bracelet!
Trev: umm, that's.... not that....
Sean: oh, yeah, this is a cockring huh? wait.... oh, I should probably wash my hands now...?
Trev: yeah, you probably wanna do that.
/sean exits/
/trev hides his cockring/

Monday, November 2, 2015

surround yourself in glitter

Being around those people who do not believe in your goals, who do not support you in your goals, hurt you. They actually distract and hinder your development.
"I learned that the most dangerous heart is from one that claims to love you earnestly but without commitment; bolts with the wind when reality sets in and finds the object of affection less favourable than its ideals or set expectations."
Run to your passion, to your values, to what you are good at, to what you believe in, to what you love. Run away from those of with other expectations for you, or ideas of what you "should do".
Ask for good questions. Ask for questions that help you see you more fully, and get you to problem solve..... ask for questions that keep you creative.
Mine the glitter. That will be your success!


I am filled with anger and rage and frustration. 
I am filled with love and compassion and glitter.

Do not love recklessly

I learned that the most dangerous heart is that which does not know what love entails but carelessly ensnares another.
I learned that the most dangerous heart is from one that claims to love you earnestly but without commitment; bolts with the wind when reality sets in and finds the object of affection less favourable than its ideals or set expectations.
I learned that the most dangerous heart is that which can change in a heartbeat and discard another ruthlessly - numb, with no care of how painful, traumatic and heartbreaking it would be.
I learned that words of love are so good to hear and it is prudent not to trust them. These can just be words without any meaning.
I learned that people you love most can be the ones to not mind turning your world upside down and leave you out hanging to dry.
I learned that love is a choice and a commitment to an imperfect person. It is complete acceptance of both light and darkness.
I learned that love is a journey of happy and wholehearted compromises. We can't always have all the qualities and conditions we look for but we can choose to learn and appreciate our differences; motivate each other for the better.
Believe in love but DO NOT LOVE RECKLESSLY.
- Charis Gaye Dagoc

Sunday, November 1, 2015

beauty and brains

To say you like something, to say you love something, exposes you and your emotions/feelings/feels--it makes you vulnerable.
Scopophilia, the joy of looking.
To admit we like something, puts us in a fragile state. If we are to admit we like something, from our sexual energy, the stakes are higher. To love to look at sexy things puts us in a temporary state fragility--which could leave us broken, or fulfilled.
Only in a state of openness can we receive light, but it can also allow in the darkness.
To admit to a person or enigma that we love their look, or by extension, them, we are opening a part of ourselves--it is a phenomenal gift of presence and energy. If that enigma or person, does not like us back--it hurts... If that enigma or person is then critical of us, for our feelings, we feel attacked--and more, profoundly wounded if we let this criticism to enter our psyche, heart, and ego... because we were open.... because we were open....
Perhaps that is why we tend to, as a population, love dumb blondes, or muscle without brains--dumb and pretty. They are not a threat to us. We can desire them and like them without risking criticism. We can relish in our scopophilia without worry or woe. It keeps us in power.
This is, of course, not revolutionary, nor is it an aspect of love...this is an aspect of greed and ego... this is why beauty and brains tend to scare us so much.... this is why beauty and brains are banished to the fringe, or pushed behind glass and into the shadows.....but I sense there is of course more to unpack....

Saturday, October 31, 2015


I need you to be naked.
I need you to be more naked than you have ever been.
I need you to be naked in nature.
And I need you to be naked in public.
I need you to be naked in the club.
And I need you to be naked in the library.
Resist the need to be nude, strive for the naked.
Only in the naked, away from the allure of seduction, towards vulnerability and openness, will you find the precious glitter you have starved yourself of...
I need you to be naked.
So that you no longer need to be hungry.
--A message from the Glitter Shaman

revolution and mitote

I wonder, think, if mitote is a dance process of decolonization, isn't that then just an idea of revolution of the self. Is decolonization just revolution? Or is it something else, more varied, different? Is revolution stronger? is Mitote more specific? How do I negotiate these terms so that they can begin to enact labor for futurity that is much more beautiful than our current lackluster affairs....

Thursday, October 29, 2015

find it

When the world seems cold
And wind stands still
You must see beyond the light
Into the grey
Devour the darkness
Beneath the pieces of glass
And ashes of burnt greens
You will find it
And it will sparkle
--A Message from the Glitter Shaman

Wednesday, October 28, 2015


"The more insane you become, the more I can trust you." -- A message from the Glitter Shaman

cute couple

"This idea of a "cute couple" ... or "loving boyfriends" has become bitter... the fantasy I once had has deteriorated... scraps of paper burning and molding simultaneously of a poem I once wrote for you of a love we never had..... Anger and disgust at the fake and happenstance love of those hugging-posing to the picture taker, hoping they look cute..... Honest love is not on instagram or facebook, it is in that memory where we sat in silence, alive, healthy..... it was not poison that i yearned for, but a simple photograph of a distraction I fucked and tasted--two dementional shadow of my four demential cock and head... mind washed in the sea of emotion... a desert is just as pure and benevolent... in the burning of the papers, I see the flames of passion, and the purified smoke, lead my eyes to the stars, and the fading moon... so this is life my dear sweet one... {Neither ascent nor decline. Except for the point, the still point, There would be no dance, and there is only the dance. I can only say, there we have been: but I cannot say where. And I cannot say, how long, for that is to place it in time}." --A Comment from Prince Devin Lauren Van Cartier

Saturday, October 24, 2015

Protect the Mills College Dance Major

This attack on Mills Dance really make me feel personally attacked, and it makes me feel really bad. It feels like all my amazing experiences, memories, knowledges, and relationships I made there are invalid. I feel like it says I am invalid. To me, dance is a necessary practice. To me, dance heals the world. It is in school, through dance, students learn about their bodies, their mortal and personal vessel, and gain agency over its existence and expression. No other discipline teaches about the body and its personal and secular historiography like dance does. No other discipline expect you to discuss issues, research them, write about them, feel them though enactment, and then perform them, at the deep and intimate level where dance exists.

I use my body as extra storage when my mind is full. I use my body as a landscape to visit, when the outside world is too dangerous. I use my body and its dancing for work, to pay my bills, and be in a good way in society. I use my dance for protest, love, medicine, artistry, and prayer. I am a dancer who can explore all aspects of society, because I know the body, and it is something I share with everyone.

Please support the Mills Dance Major, Please support Dance! Mills Dance is too precious a gem to dissolve.

Tuesday, October 20, 2015

my resistance to my dancerhood

I think I am still fighting being a dancer. 
The chemist in me want to banish it from my life. 
I think I am still fighting being a dancer. 
It's a part of me I am constantly scared to accept. 
Only in the sanctuary of the studio do I feel safe. 
Only in the magnificence of the stage do I feel alive.
I think I am still scared to be a dancer.
I must get rid of fear.

Placing myself in the In-stall.

On Thursday, the 15th of October, as the sun changed its character, to rest to its dawn, I attended the dance concert held at the Performance Lab, ARTS 166 at the University of California, Riverside. The time of day was 6pm, and though I was excited to see what the MFA candidate Patricia Huerta had created for us this night, I was concerned, if not scared of what I would see.
Is the work experimental as this dance department pushes? Will it be good? What should I expect? With these questions rushing though my head, the ushers handed me a yellow program, and I thought, everything would be okay. I would come into the space with an open heart, and an active body—for this work requested of its audience to be bold and play with the performers, install themselves in the space, the décor, and essentially the performance itself. And, I like being silly.
As dancers often do, the title of this work “In-stall” is a pun, used to suggest a thought for our paradigms to marinate, as we watch the work. The piece was site-specific, meaning all aspects of the stage, audience seats/bleachers, side wings, hallways, back doors, and lawn was used to create the dance work. The dance was installed in the performance lab, but too, were the audience members.
Upon entering the space, I stood close to a hall where a dancer, Charlene Chang, kept repeating dance phrase work, and then moved one chair on the blonde stage floor, before returning to her phrase in said hall. To me, she was a clock. There were a certain number of chairs built in a tower, at the base of the bleachers, and her completion of the moving of those chairs would cause a shift, a change to the next part of the work. But, to her dancing in the hall, it was quite virtuosic. Jumping and sliding on the walls and door with precision and desperate intention; I felt the deep physicality of yearning for something that may not be there. More, I began to question, how does one dance in an impossible space, such as a hallway.
As I left Chang to her phrase repetitions, I entered the stage space to find other dancers. But more I was stuck by the many crumpled up pieces of paper that lay across the whole floor. Yellow and white notebook scraps and magazine covers everywhere, and more, there were black ripped trash bags across the seats of where the audience would normally sit. Here I was in a trashed studio performance lab—trying to understand what it could all mean.
Around a corner was a dancer putting on clothes as I would in Savers, if I was looking to be a Halloween character of pile of clothes. Trying to fit into anything, she elicited to me images of Merce Cunningham’s “Antic Meet”—bringing forth ideas of never fitting in, yet still trying; what great poetic thoughts and ideas began to surface for me here because of this scene! To stage right was a woman/dancer throwing trashcans, and in the backstage, hidden by the backdrop, was a woman/dancer exploring living/moving in a trashcan. From my seat high in the bleachers, I could see all the dancers moving, with ambient music produced by Jeff Zahos of the UCR Dance Department. But then, in my limited eyesight, something amazing happened. The majority of the audience chose to stay on the ground, on the stage. And so, between the dancers there the audience was: wondering about, sitting against walls, manipulating lights, and throwing trash paper. The audience, in all their pedestrian dancing, or non-dancing, became the show I came to see—it was spectacular!
But, with the completion of Chang’s chair arrangement, the dancers dove into a trash bag each, and began to come as black blobs, to me in my seat in the bleachers. With all the audience’s eyes on the dancers ripping through the black garbage bags all around me, I could feel the audience looking at me as I had them. I was now a part of a show I came to see, and there was no escape. Luckily, as these almost Alwin Nikolais blobs began to run and thrash through the rows of seats they descended over these seats to the blonde floor to begin dance sequences in t-shirts and tights. My visibility was hidden and protected again in the darkness of the house lights.
The dancers danced a few sequences of weaving, carrying, bumping lifting, rolling, and leaning on each other; ever moving away and then towards each other. Ever gazing with blankness, but also with a yearning for touch that was never quite fulfilled. Still the extreme physicality of their dance was present with these dancers sweated and breathed heavily. Without missing a beat of the changing music, they took out messages on papers from their bras, and requested the audience to follow them through more halls and wings.
Expanding upon the choreography that was previous danced on the blonde stage, they worked the hallways as best they could. But more importantly, the audience tried to see them as best as they could—leading me to ask how to do you see dance in an impossible space?
With a moving of a mattress from the wings to the outside lawn, I knew a conclusion was eminent. From a glass window sliding door in the back-backstage, we the audience saw the dancers repeat the clawing and jumping and reaching dance work previously seen, with a mattress standing so alone in the background. Beautiful was the backdrop though: the UCR campus, the hills and Riverside streets. What a great place to end a work!
With one final run to a mattress, perhaps to sleep under the stars. NO! Jumping on this mattress, on mother earth, and rolling to the glass, and opening the sliding doors, we are greeting with a bow and a thanks for attendance.
A work here is more than a work about trash and dancing, but begs us to ask: what is trash, how do women interact with it, are they it, or not it, and what is play? What is the yearning we have for each other comprised of, and how to we reach for each other beyond impossible spaces and come together in a creative capacity? I do not know, but perhaps the next MFA concert by Huerta will lead me to the answer I seek…

Cuauhtémoc Peranda is a PhD student in the Dance Department of the University of California, Riverside. He holds an MFA in Performance and Choreography from Mills College, and a BA in Comparative Studies in Race and Ethnicity from Stanford University. He is Artistic Director of Mitote Choreographics; please visit his dancing/writing at



Patricia Huerta, MFA candidate in Experimental Choreography 
A performance about you, me, us, and all the spaces we inhabit and that surround us. About visibility, obstruction and choice. About possibility, agency, and newness. A shared space where each individual experiences this performance however they please. About (in-stall-ing) yourself. 

Performed by Hayley Barnes, Charlene Chang, Elizabeth Villalobos, and Amariah Wosczyk
Original composition by Jeff Zahos, Music Director, UCR Department of Dance
Taisha Paggett, faculty advisor

October 15, 2015
Thursday, 6:00 pm
Performance Lab, ARTS 166

Patricia Huerta, from Los Angeles, California, is a dancer, choreographer and educator. She has been dancing for more than fourteen years in ballet, jazz, contemporary, modern, hip hop, ballroom, and improvisation. Her dance training stems from various institutions such as Mount San Antonio College, California State University Fullerton, Escena 3 in Guadalajara Mexico, and the University of California, Riverside. Patricia has performed for various dance companies projects,  and artists, such as Mount San Antonio Repertory Dance Company, Pasadena City College Tournament of Roses Parade, Liz Lira LA Salsa Dance Company, Salsa Intocable Dance Company, Bachata singer Abo Solano (as a dancer and choreographer), Critical Mass Dance Company, the UC Riverside Gluck Dance Ensemble, Julie Freeman’s The Pleasure of Sometimes, Wendy Rogers’ Circa, Rosa Rodriguez-Frazier’s Border Ocurrencias, and Brianna Skellie’s Container. She has taught and choreographed over the last thirteen years for various institutions such as Pasadena City College, Mount San Antonio College, the American College Dance Festival (at Cal State Long Beach), Rubidoux High School, Los Altos High School, Ayala High School and Nogales High School. Patricia received her BA in Dance from UC Riverside where she earned several scholarships such as the Chancellor’s Award, the Dorella Anderson Award, and the Gluck Dance Ensemble Fellowship, recognizing her artistic triumphs. She is currently an MFA candidate at UC Riverside focusing on Experimental Choreography and critical dance studies. In2015-2016, she received a Gluck Fellows Program of the Arts Fellowship, an MFA Graduate Fellowship, and a UC MEXUS Grant.

In-stall is presented by the University of California, Riverside, Department of Dance. Patricia Huerta created this work in partial fulfillment of the requirements for the Master of Fine Arts degree in Experimental Choreography.

Photographer: Jonathan Godoy

Friday, October 9, 2015

Tuesday, October 6, 2015

i love you -- i put a spell on you

"I love you" is more than a phrase, more than an adage. It is an incantation, a spell. We must learn to be careful with our magic. We must learn to be benevolent with our love.

Thursday, October 1, 2015

Pusheen & Marxism

Adventures of Desun and Cuauhtii
Desun: can you explain the Marxist superstructure to me? as it related to the field of dance?
Cuauhtii: yeah, I tagged you in a pusheen picture of it. You can think of dancers as commodities of labor, and that dance scholars are part of the management or higher, because of their intellectualism. Dance scholars are part of the superstructure of the field, while dancers do the work, and are not even considered.
Desun: did you just use pusheen?
Cuauhtii: yea, why?
Desun: are you doing pusheen studies? or Kawaii Muscle Puscheen Dance Studies?
Cuauhtii: YUP!
Desun & Cuauhtii: .....   :3

Monday, September 28, 2015

long distance relationships

Adventures of Desun and Cuauhtii

Me: we should use this app for long distance relationships
boo: oh yea what's it called
boo: -.-
me: yeah lets do it *downloads*
boo: *downloads*
me: you like it? we can #nosekiss with it
boo: there should be an option for poly-relationships
me: oh boo :3 you are always thinking forward :3 I love you
boo: *kiss