Likes: terrorizing mortals; libraries; serious eyeshadow; chain wallets; suspiciously lifelike marble statues
Dislikes: people who aren't statues yet; bros; Perseus
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There are all these bands that are sort of “If you like X, you probably like Y” bands to the ones I am super into, and I see them on my dash enough to identify the band but little else
Like I know the dude from Blur loves him some cheese
Manic Street Preachers are sad attractive Welshmen in glitter
Rammstein is some kind of exotic theater company
Faris Badwan has an amazing nose and a Banshees shirt
Photoset reblogged from Broadcasting Archives @ the University of Maryland with 55,579 notes
The bottom photo is Stuart’s 7-year old son this past weekend with Tom Baker at the 50th Anniversary celebration, exactly 35 years later.
"I think Depeche Mode music somehow appeals to the oddball, to the person who is looking for something a little bit different.” - Dave Gahan
Imagine your favorite band member helping you make your hair as fluffy as theirs.
I remember a man stopping me in Oxford Street
once, looking at me with absolute incredulity; he
couldn’t believe it. He said, ‘Tom Baker?’ A man in
his late thirties. I said, ‘Yes’. He said, ‘Tom Baker?’ I
said, ‘Yes!’ And he looked at me and in his brain he
catapulted back in time and he said, ‘You know, when I
was a boy, I was in a home for children; nobody wanted
us, you know? It was terrible. And you made Saturday
night good.’ And I went to say something to him and I
could see him so close to tears that he couldn’t speak.
And he shook his head as if to say, ‘Don’t go on, don’t
remind me’ and he just did [a thumbs up]. Such a
common thing, isn’t it, but suddenly backed up with
an expression on his face through his tears that was
a knighthood. It was a knighthood. Just thumbs up,
meaning it was great, and thanks. It’s incredible, isn’t
it? Just a gesture.
The Lost Art of Cassette Design by Steve Vistaunet
He had me at “Music for Cats!” but won my heart forever with “Rat Music for Rat People”
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The Beatles owe soooooo much to teenage girls for their success like i’m pretty sure it was teenage girls who were screaming and fainting at shows and buying all those records and not old ponytailed dudes or moody teen boys with bad hair? and somehow everyone forgets that when they’re yelling about “real music” and putting down teen girls for the performers they get excited about. like whatever. I see you.
No. Not even a bit. The Internet to me is about rebel culture, and I’ve always loved it. When I think of rebel culture, I think of rock-and-roll, or hip-hop; and for a long time now, it’s been the Internet. Everything belongs to everyone now, and everyone gets to have a say. It doesn’t mean the fans are writing the show, but they definitely are watching it and they get to have a say. I don’t get to sit back and pretend I’m too good to talk to them. That’s bullshit. Digital lets us have this conversation and make it as awesome as we want. Why can’t I share fan-fiction? Those fans are artists too, I’m not more or less of an artist than the people who are writing that, or drawing fan art. I’ve believed that for a while, and I felt like this was the time to go, “No, I don’t want it back and I’m happy [the fourth wall] is gone.” It’s one of the most enjoyable experiences. To me, it’s theater. Immediate reaction, the second it’s done. I get to be in my living room with you, trolling my own show.
incredible, simply incredible.
I doubt that this is an original idea but having re-watched Snow White and the Seven Dwarves last night — the first time being when I was very young — it is shocking to me how anti-feminist the story is:
- The antagonist — the Queen — has the chief desire of being the most beautiful in the land and will go to extraordinary lengths to achieve this.
- Snow White’s first appearance in the film is her singing about finding love. At no other point in the film are any other ambitions discussed.
- Shortly after this, the prince (who is not even named cos why even bother with characterisation?) falls in love with her and hangs around outside her house even though she runs away from him.
- Snow White takes on the role of “the mother” by performing domestic duties for the dwarves. Also interesting about the Snow White - Dwarves dynamic is that they only comment on her beauty not her character.
- Post-death, the dwarves decide to preserve her body in a glass box due to her beauty…
- The prince comes back and revives her by kissing her due to love’s first kiss. Even though there is no hint at a relationship that goes deeper than the epidermis.
It is also worth mentioning the complete lack of characterisation of Snow White and the Queen; we are only shown Snow White’s perceived beauty and the Queen’s jealousy.
I think this teases out one of the important differences between folklore and movies as storytelling vehicles, or even folklore and recorded folklore. The culture that spawned “Snow White” was hardly feminist, but when people told the story to each other, they would have projected themselves onto various characters, changed elements of the story to suit their personality or their specific context, and otherwise engaged with the story actively in a way that allowed for some agency. The Grimms wrote it down, possibly prettied it up (they altered several stories to fit middle-class, literate tastes and morality, including making evil mothers into stepmothers and adding negative commentary about defiant female characters), and then published it, trapping and killing it like a bug in amber.
And then a century or so later, the Disney company made a movie of it, and film is even further removed from the original, vivid folklore tradition than print is. At least readers still have the freedom to imagine the events of the story in their own way as they read; there’s still agency there. But movies present a story to us in a way that’s impermeable: our role, as audience, is not to shape the story with our imagination or retelling, but to view the story that has been given to us by the writers, directors, animators, etc. who generated the film. A story like “Snow White,” which in its original form was mutable and allowed tremendous engagement from its audience, becomes a set of ideas handed, whole and complete, to its viewers. It’s no wonder that some parts of fandom spend so much energy trying to talk back to film, engaging with it in ways similar to folklore in previous eras, telling different versions of the stories they’ve received.
I tend to loathe modern fairy-tale adaptations as completely missing the point, but despite being a purist, this train of thought has convinced me that perhaps these adaptations do have a place in our entertainment. Movies are not folklore and do not operate on their audience in the same way, and there’s perhaps greater need for our movies to reflect not only our values now (as opposed to those of a century ago), but the values we hope to see manifesting in the world.
For mika—mi, who’s writing a paper on “
*Ciconi, Mirna. “Male Pair-Bonds and Female Desire in Fan Slash Writing.” Theorizing Fandom: Fans, Subculture, and Identity. Eds. Cheryl Harris and Alison Alexander. Cresskill: Hampton Press, 1998. 153-175. Print.
*Driscoll, Katherine. “One True Pairing: the Romance of Pornography and the Pornography of Romance.” Fan Fiction and Fan Communities in the Age of the Internet. Eds. Karen Hellekson and Kristina Busse. Jefferson: McFarland Press, 2006. 79-96. Print. (I’ve uploaded this here.)
Gilillan, Cinda. “WAR OF THE WORLDS: Richard Chavez, Paul Ironhorse, and the Female Fan Community.” Harris and Alexander 179-198.
*Green, Shoshanna; Jenkins, Cynthia; and Jenkins, Henry. “Normal Female Interest in Men Bonking.” Harris and Alexander 9-40. (This used to be available online, but the link’s been taken down; I put it on my blog here.)
Jenkins, Henry. “Welcome to Bisexuality, Captain Kirk.” Textual Poachers: Television Fans and Participatory Culture. New York: Routledge, 2012. 185-222.
Russ, Joanna. “Pornography for Women, by Women, With Love.” Magic Mommas, Trembling Sisters, Puritans, and Perverts: Feminist Essays. Trumansberg: Crossing Press, 1985. 79-99. Print.
Willis, Ika. “Keeping Promises to Queer Children: Making Space (for Mary Sue) at Hogwarts.” Hellekson and Busse 153-170.
Woledge, Elizabeth. “Intimatopia: Genre Intersections Between Slash and the Mainstream.” Hellekson and Busse 97-114.
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