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thisaintascenereviews · 8 days

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James & The Shame Is A Human Overboard With Nothing Left To Love: A Review

Country music is synonymous with few different topics of conversation, but the context of which it’s discussed depends on the style of country music. If you’re listening to mainstream country, you’ll probably hear a ton of songs about Jesus, God, and praising Christianity, which is all fine and dandy, because people have the right to practice any faith they choose (even if they don’t practice one at all). The thing is, if you dig deeper into alt-country, folk, and indie country, you’ll find a lot of artists that criticize organized religion and examine its role in society and how harmful religion can be. One artist that does this is Rhett McLaughlin, but you may know him as one half of the YouTube duo Rhett and Link, as well as Good Mythical Morning. A couple of years ago, McLaughlin announced a country project that he calls James And The Shame. James is McLaughlin’s middle name and he said that “and the shame” comes from the shame his middle name gives him when thinking about his time as a devout Christian.

So far he’s only put out a couple of projects, which include his 2022 debut Human Overboard, and the 2023 EP Nothing Left To Love. I wanted to talk about both of these together, because they’re both relatively similar, yet you can also hear some growth from the album to the EP. Regardless, both of these records are wonderful, and absolutely worth your time. If there’s one aspect about James And The Shame that I love, it’s that you can listen to this without any context at all without knowing who Rhett is. This isn’t your average “YouTuber music,” and this is music that can stand up on its own, especially if you enjoy country.

McLaughlin’s sound is also incredibly interesting, opting for an old school country sound but still mixing some modern folk-pop into the mix for good measure. Human Overboard keeps the old school country sound, whereas Nothing Left To Love has a more Americana and singer-songwriter feel to it. There’s less twang on that EP in the instrumentation, although McLaughlin’s voice still has a Southern accent to it. It seems like he’s playing with other sounds and influences on Nothing Left To Love, but Human Overboard isn’t one note, both in terms of the instrumentation and the lyricism. The latter is what James And The Shame focuses on, and that’s one of McLaughlin’s strengths of many.

Before I talk about the lyrics, I wanted to talk about the overall sound some more, especially McLaughlin’s voice. His sound is very warm, inviting, and familiar, and his voice is the same way. He has such a good voice, I was blown away the first time I listened through these albums. Everything about these records is just so good, but it’s clear the focus is on the lyrics and what he’s saying. That’s a good thing because he has a lot to say. The lyrics are where these albums truly shine, and a lot of this record is about two things — his deconstruction and his family / friends. The EP expands his lyricism a little bit more, but it stays in the same wheelhouse.

If you’re a deeply religious person, let alone somehow that doesn’t want their beliefs challenged, this isn’t for you. McLaughlin doesn’t say anything negative about Christians as people, but he does criticize certain things that Christians do, such as “In Vain,” where he poses the hypocrisy of Christians not liking when people use God’s name in vain, yet they’ll use God as an excuse for why their football team won, or how their politicians got into office. It’s a double standard, isn’t it? The album is full of songs like that, especially about him growing and realizing that Christianity is not full of love and joy that he thought it once was.

#James and the shame #rhett and link #rhett mclaughlin #human overboard #nothing left to love #country #folk #acoustic

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storybook-souls · 3 years

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sigh okay I'm gonna once again bitch about something that doesn't matter and probably delete this soon

#i just. i think it's fucked up that i mostly stayed in the midwest to be close to my family and yet am Still just #increasingly getting more and more Weird Tension with them and distant from them and don't know how to FIX it #and then the OTHER reason I stayed was for turner which. don't get me wrong i wld never have moved more than an hour away while he was sick #but like in Hindsight i should have just stayed in my hometown until he was gone and *then* moved Elsewhere #especially w covid #but now I'm just...here!! in a city i dont like surrounded by people i dont like and for WHAT!#its fucking me up that i literally have no one to catsit sam when i go see taylor it's like. i have NO one.#who has NO one that they know in their WHOLE city????#if i had an emergency of any kind i literally don't know what id do! the closest people who love me are over an hour away!#which i KNOW is just how it is for so many people in modern americana and im SO lucky to have family who's Good and who Is just an hour awa #and so lucky to have friends who love me even if they haven't seen me in person for over a year or Ever #so i feel STUPID complaining as i do about Everything in my life but like!! im SAD!#like if im gonna be working a stressful job that isn't getting me Anywhere i could at LEAST have FRIENDS to play board games or have drinks #and i HATE that when i DO get to make plans and see friends i feel like. weird and guilty if i don't somehow Include Everyone or Optimize #bc i get so few days off and everyone is so FAR from me #and i think i COULD make local friends this summer if i really tried but it's hard and idk where to start and also like.#then I'd have things keeping me here and i dont WANT to be here but also there's ALREADY things keeping me here #if i was serious about being Flexible I wouldn't have gotten a cat! moving is HARD!#but like. so what now? am i really just? stuck? do i just STAY here? what am i WAITING for what's gonna HAPPEN #hhh this week sucks. this week sucks!

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starr-fall-knight-rise · 4 years

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Humans are Space Orcs, “Combat.”

Wrote this one in response to requests that I do more of Krill’s medical journals. I hope this is what you wanted to see

To the: Intergalactic Journal of Medical Biology

Humanity is a young species around 204,000 years old in their current modern iteration. While there have been many types of humanoid animals on their planet, The Homo Sapien Sapien as they are known scientifically and the only sub-type of human that remain having about .6% genetic variation between them despite their range of color, height, and shape which has been openly observed by all nonhuman species.

In comparison to the Vurl or the rundi, humanity is a relatively young species still containing many of their more animalistic tendencies in comparison to species who have had more time to evolve into their sentient states. For this reason the examination of this paper revolves around human aggression, and defence. In many animals we see behaviors designed to defend or attack, either out of fear, protection or in order to impress a mate. Humans, being a sentient species use many different techniques to deal with this issue, but one of the techniques that might be considered most primitive, is their contact fighting.

Like how tall horns headbutt each other and longwings lock talons, humans have developed the ability to use their body as a weapon to the detriment of other humans. This practice has likely existed since the beginning of humanity, though through the years, and as humanity evolved, their refined and discovered different ways of -- as to use a human expression-- “Beat the shit ouf of each other..”

In more recent years this primitive form of agress, though still used to its intended purpose, has been made into a sport.

In other words humans hit each other for fun and they let other watch.

Some of these techniques include.

The slap- One of the oldest forms of human aggression which involves striking someone, across the face usually, with an open palm.

The punch- Similar to the first bud done with a closed fists, often puts the bones of the hands at risk, but puts more power into a smaller space, when the hips and legs are used through kinetic linking, the entire power of the body can come out through the hand.

The gouge- Humans do not have claws, but with the hand open and fingers slightly bent, they can use the hard keratin at the end of their fingers to inflict scratches and gouges on an opponent

The kick- as if hitting people with your arms wasn't enough, now they have to hit people with their feet and shins. On a side note some humans punch and kick wooden poles to make their bones stronger! Yes then INTENTIONALLY inflict pain on themselves, causing MICRO FRACTURES in their own bones just so they can hit people HARDER.

The elbow - jamming the bony junction of their arm into other peoples faces, as it seems there is a location on the elbow without nerve endings, and so does not cause so much pain to the hitter but concentrates the weight on the end of a very strong bone.

The knee- similar to the elbow but with the junction of the leg. Usually aimed towards the upper abdomen, where the liver is located, because your opponents internal organs be damned.

These are the simple basics of human combat, those things that all humans have ingrained into them as instinct, however of course over time humans have developed more painful ways of hurting each other

The round kick- like kicking but with the extra step of spinning around really fast to gain momentum, is usually aimed at the face, because using your foot to hit someone in the face after spinning is SOOOO LoGiCaL

The choke - can be done in many ways, but the general principles is if your opponent can’t breathe, than they cant win, bonus points if you crush their windpipe in the process because whoo hoo for murder.

The blood choke- its like choking accept the general principal is if no blood is going to your brain than you can’t live, so just squish the carotid arteries a little bit, not like they need those anyway

The figure 4 choke - Choking someone like a blood choke but with your thighs because why the hell not

The Americana lock- They will submit if you screw up their joints especially the shoulder and the elbow because who the hall needs those.

An armbar - just lay your feet over their chest, grab their arm and put the elbow over your pelvis, now when you arch your back your can break their elbow joint backwards. So effective that your opponent will probably quite and give up screaming before you manage to actually do anything.

Body slam- yeah throwing your opponent to the floor violently and then falling on top of them might just work to make them regret knowing you.

Pile Driver, kind of like a body slam, accept you also use your elbow. Do you hate someone in particular? Do they need their ribcage cracked open like an egg? This might just be the technique for you

Man of these techniques are used in combat sports, some of them for more theatrical use, but the principle remains the same. Now there are a few techniques that are generally prohibited rom fighting sports.

Head butting - why the HELL would you even think of this. Yeah I’ll just hit my head against their head that ShOuLdN’t hURt at ALl. Should work just PERFECTLY

Groin Kick - the human imperative to survive is so aggressive that a single kick to their reproductive organs can send them into full shutdown mode, and this includes breathing problems, potential vomiting and crying like a baby

Biting - Here have all of my transmissible diseases, that should make you regret your entire life. I hope your arm gets infected and falls off

Eye gouging - can fight me IF YOU DON'T HAVE YOUR EYES

Curb Stomp - Just set someone’s chin up on a curb and then KICK THEM IN THE BACK OF THE HEAD.

WHAT KIND OF MONSTERS ARE YOU PEOPLE! My list Isn’t even finished!

MY LIST

ISN'T

EVEN

FINISHED!

Why does humanity have to be so scary HHHHHRRRAAAGGGGG!

From the editing department at the: Intergalactic journal of medical biology

Dr. Krill,

We regret to inform you that your scholarly paper has been rejected for improper scholarly vocabulary, neglect to operationally define non-common language, use of onomatopoeia, and WhAtEvEr ThIs Is. Please review your submission and resubmit it to our review team. We appreciate your dedication to science.

Sincerely,

The Review Team.

#humans are insane #humans are space orcs #humans are space australians #humans are weird #earth is a deathworld #Earth is space Ausralia

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dangerouslysmartslime · 3 years

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My Little Pony The New Generation

Seems like the things that remembering of what happened in Generation 4 waws the olden times where the pony kinds were friends and didn’t use magic against each other. IE Generation 4 of the Friendship Pope. That the main character is a girl obsessed with the era of Generation. A lighthouse and Sunny will know, you stand up for what you believe in. Show everypony that we’re friends. That maybe today is that day! A father that loves his daughter with all his heart~! And the two colts that she was playing with, one of them she will see as an adult on her adventures as shown by the trailers and the other had the depressing note of wanting to be Sheriff, and everyone knows that Police Officers are reviled for keeping people in line, especially colored by their own bigotry, so insert the “Lois and Clark” Yikes. Sunny and her father write a letter to the unicorns and pegasi only to tell the story of Generation 4 to Sunny. A friend to fly around or float things, why can’t we be friends anymore? That is a great question, but we’ll figure it out together. And the drawings that she has as well as all the things she has of Generation 4 is so adorable!! Only to flash to when she’s an adult and the movie actually starts~! Sunny gets herself dressed with the same sort of pins I use on my hat. She gets ready her bag and she looks at pictures of her father in a way that mean it seems like he’s dead… And the movie goes into the first musical number. “Canter Logic” She goes on a ice cream run for a job, only for that colt who said he’s be a Sheriff to chase after her… And steal somepony’s milkshake and cookies… She gives a balloon to someone who wanted one, only for that one colt to continue being the worst pony in the movie so far in terms of douchbaggery. She is going and showing her enthusiasm for life while the colt continues to chase after her cleaning up all the kindness she wishes to do and come to University. A squad of critters like Fluttershy only he doesn’t actually like it. Annual presentation at Canterlot. Hey, come on! Sprout was actually just doing his job when Hitch was giving him orders. “Every year you sneak in and every year you try” As a friend not as a Sheriff, don’t? Someone litters and Sprout is continuing to be an asshole so I was right. So Sunny is mischevious only to find that this is a factory much like the memed on Rainbow Factory… Canter Logic is Phyllis Clovery, the mother of Sprout, and the actual biggest asshole. Oh wait, she actually is the main antagonist because she’s a bigot. Yep, markets her products for bigotry and wha… Ant-mind reading? And keeping eye on the sky doesn’t make sense… The earth pony balloon escape pack doesn’t work. Only for Sunny to try to protest it and she does it in a dumb way and her friend who is the Sheriff stops it by pulling the plug. “Aren’t you tired of being scared all the time? The truth is, we’re not in danger! We don’t need any of this Canter Logic junk!” Just imagine if you had a friend who could fly or do magic. That everything you hear is wrong when they could be friends and still could be! And “Phyllis is still a bigot.” To uphold it? Everypony includes Pegasi and Unicorns, “Then prove it” means she’s going to be go on an adventure. And the one friend that she has is an asshole to her because due to propaganda he says that it’s just an old filly story concocted by her father. She then looks to the sky and mourns her father once again, wishing he was here. Only for… Izzy Moonbow the Unocnr meets Sunny and all the bigots (IE everyone except Sunny) panics as the bigots… Really? That seems a little harsh. Well yeah, they’re bigots, what do you expect Izzy! Izzy plays it like a game of hopscotch only to get trapped by a trap because she was looking at Terminator Judgment Day. Hitch then lectures her. So, you’re named Sunny? Bye! Nice to meet you now! Hitch acts like he’s the only sane man, but in reality Izzy is just as enthusiastic as Sunny as being a silly dork. Nooo, I can’t make it float but I can open cans! Tada! No magic… So the bigots keep being bigots and they flee. No magic? But we did have magic and that was many moons ago and everyone is racist because the magic leaves. Unicorn with no magic and everyone is a bigot. Earth ponies have a lot of bigoted stories while only 3 stories unicorns. What if they don’t! And then there’s the musical number 2. Neat… Two folks becoming friends who are looking out for each other like Sunny is friggin friendship pope with Pinkie Pie. So they get an apple to have a snack and continue trotting along to try to get to the land of Pegasi. Hitch is the “perfect guy” in terms of taking care of himself and Sprout is now the Interim Sheriff. Still think Phyllis is the villain. Only to find that yes, everyone is bigoted against each other because they think everyone else did something bad. And… Can Pegasi not fly? No, the butch pegasus is here “there’s no way we could, there’s no way we could!” The shield is.. Can you fly to the moon? Well I do like sneakers. And then modern Americana appears in Zephyr Heights… Royal bash for Queen Haven and Princess Pip the influencer. Of course… Pip Pip Hooray? Pegasi do have a Castle, and it even looks like they stole Canterlot and renamed it. And… Both of the Pegasi are royalty. Earth Pony and Unicorn in Zephyr Heights, and no, not an attack ya silly. And Hitch goes after them and… Sprout is here but people are revolting? Wait, no they aren’t. “We need a real Sheriff!” Only for him to get all fearmongerin. I see… Whispering danger danger.. Generation 1 is shown… “Follow me mindlessly!” Angry Mob ANGRY ANGRY. Influencer advertisments and… “We haven’t seen a single pony flying except the royal family. Only for a princess to.. Just call me Zip.Izzy Moonbow. Important about magic? How does your work? The unicorns lost theirs. No magic. “Well, that changes things. Her father’s journal, and that star is actually like Twilight Sparkle’s journal. “Only royals can fly because for some reason they have magic. Nicorn hair and Pegasi! Hitch is looking for them only to find that the Pegasi captured them. When unicorns and Earth Ponies visited Zephyr Heights and the Wonderbolts were seen in a picture. The truth is they can’t fly either but just faking by… Wires and good lighting… A “ridiculous lie.” To… Soar using a fan. A bright sparkle, says Izzy. Canterlot’s old Stained Glass. It’s seen right there and now each one is placed in order, fitting. The Crystals go together united. So if they put them back together magic would return… The unicorn crystal Bridlewood is had. The Queen never takes her crown off… Swap real crown with decoy. Stealthy and stealing the crown. Paying a guest a visit and Pip is told. No one can fly, it is just a stage show… Because of course, Pip is just an influencer using a stage show and of course aother song… While Sunny and Moonbow are doing the plot~… But the dog happens, where the small dog is like a guard dog. And Hitch is also finding them, then the recording staff is like “Prisoners have escaped!” And Hitch is put on stage… “What is happening. The Royals are revealed to not be able to fly either, and they accidentally drop the Crystal… “Arresting you and saving you.” The Queen’s daughter, oh the Sheriff just became detective. The models of the characters look so much like the toys, Pip and Hitch join the party! Meanwhile… Canter Logic creates war machines complete with Sprout sounding like Vader when he’s really just drinking a milkshake. “Just make it work, okay!” “My town mommy” And that he is “Now Emperor” From Defense to Offense. “All thanks to encouragement” Hitch and Pip whining about being in the party. Look, once everyone gets magic back they’ll be heroes! Crystal clear and he deodorant have his badge. Between you an d me, the badge was creating an unhealthy power dynamic. Fair point. And they start giving up at a bridge being broken, only for Izzy opening the entrance because she knows the way. Breaking open a tree using her horn. They make a fire only for Hitch to be a whiny man lighting a fire “come on, don’t be a hero dude, just come here by the fire.” And they’re good to be a team, just like the Mane 6 of Generation 4. Only for Izzy to look down that the idea of being together is the best thing to happen, that getting friends is better than just getting magic. From Sunny there was that friends in Maritime Bay. That someday they’d prove that all ponies are meant to be friends. That Hitch wants to do his part, “what do we have to lose, right!” Not far from all the SIGNS OF DEATH LIKE THIS IS THE EVERFREE FOREST. “The Villa Izzy~” And all the silly things that she made like Izzy’s friendship bracelets and a tea set… Only for Izzy to be sad for not having a tea party and… A glow up? Although they’re difference races they should unite like the ancient politics of the Friendship Pope~! Comes another song. And it was a fun song so I sang along. Unicorns are very superstitious as to have magic, feather, wing, and mayonnaises. No forbidden words like Mayonnaise. The Unicorn Crystal is owned by Alphabettle, and he can smell fear. “Tea” Hold, the milk, quite the game player I see, why, do you play? I don’t play I win?” Just Dance! Both ponies agree, best out of three! Only need to win one out three for Sunny. Round 3… Here that sunny, feel the Rhythm take you over! I’m feeling it, go Sunny! And she wins with some hype from Pip! Only for the horn to fall off! And a Unicorn! Which you knew already! No, stop… No, don’t. It’s time to run… No pony has magic, but we’re here to bring it back! It can sound unbelievable, but trying is best. But nooo she needs the 2 out of 3. SHE NEEDS THE 2 out of 3!!! Ye, they don’t have to fight! Sprout makes a tank and he cackles menacingly. That they can be separated by gear and distrust, or there can be friendship and love between the races, like her father. Like her loving father. SO they unite and the reincarnation of the Friendship Pope. The reincarnation of the Friendship Pope has brought the Magic of Friendship to Equestria again.

#my little pony

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artcenterstories · 3 years

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Inside Job: Meet Interior Photographer Christopher Dibble

ArtCenter: What inspired your current creative project? Christopher Dibble (Photography and Imaging '05): My first book, Modern Americana was released on April 20. Written by interior designer Max Humphrey and co-written with Chase Reynolds Ewald, the book contains around 150 images that I photographed of spaces designed and styled by Max. I began photographing Max's work when we met in Portland shortly after each of us made the move from Los Angeles. Because we had worked together so often, and the majority of our work published editorially, we had discussed photographing a book project as a potential next step. About six months later, the conversation got serious and Max secured a book deal with Chase to be published by Gibbs Smith. Since I had already photographed all of his spaces, and we had a number of other projects we worked on together, we had a head start with half the book photographed. During the summer of 2020, we produced the other half. We worked for two months, producing about 75 images in spaces ranging from estates, antique shops, boutiques and backyards. It was a challenge producing so much work in such a short period of time and the pandemic didn't help. No assistants, no rentals. Just a camera, a tripod, a tiny light kit and lots of dedication.

AC: Where do you get inspiration? CD: I think we can find inspiration just about anywhere. It depends on how we look things. A lot of my inspiration comes from film, art and photography, but recently I’ve been digesting photographic inspiration in a way that I haven’t before. I've begun looking at images to see what I would do differently and think about ways that I could elevate a particular photograph. A bit of a challenge, or assignment I suppose. I think this is a way for me to shake things up a bit, and change the way I look things and get inspired. How could I make an image of a room better? How could I make a portrait more intriguing? With inspiring films, I’m often drawn to the light and color, but also the story. I love when my images can tell a story.

AC: Describe the moment in your childhood where you first identified as an artist or designer? CD: I’m not sure there was a particular moment in my childhood where I first identified as an artist, but I do recall my decision to dive deep into photography. I had been a fan of Stanley Kubrick’s for some time, and his work inspired me to learn more about cinematography. While exploring that at Pasadena City College, I read a quote from him that said, “To make a film entirely by yourself, which initially I did, you may not have to know very much about anything else, but you must know about photography.” This was what prompted me to begin formally studying photography, and eventually led me to ArtCenter.

AC: How were you exposed to great art and design as a child? Who were your favorites? CD: I’m fortunate to have come from a family of artists. My grandfather was a newspaper photographer, and my father was a photographer and artist, so there was art throughout my childhood. One piece that I remember growing up with on our wall at home was a photograph of a man in a trench coat, standing in front of a sculpture, opening his coat with a quote that said “Expose Yourself To Art.” Fittingly enough, the man “exposing” himself to art was the future mayor of Portland, where I currently reside. And, I've been exposing myself to art ever since.

AC: What is your current obsession? CD: I've always been obsessed with textiles, and currently, I’ve been weaving my own. I primarily weave hand towels and blankets on a floor loom, but also enjoy weaving knotted and woven rugs, as well as wall hangings.

AC: What’s the first site you look at when you open your computer in the morning? CD: I don’t have a particular website I look at everyday, but the first thing I do when I open my computer is dive right into emails.

AC: How would your closest friend describe you? CD: This one felt funny to answer on my own, so I paid… er… asked. "Loving, funny AF, passionate about everything and everyone in his life. Will always tell you the truth and take the time to break things down for you. A great teacher, supportive, motivates you to do better and be better. Very knowledgeable about everything, from art to crafters, and also useless stuff like 90 Day Fiancé. However, don’t rely on him to help wipe a baby worm that’s stuck to your leg while in the middle of a field in Chiang Mai."

AC: What books are on your bedside table? CD: PhotoWork: Forty Photographers on Process and Practice, and The World According To Mister Rogers.

AC: What’s the one tool you can’t do without? CD: Where there is a will, there is a way, but having to choose, I’d say my hands.

AC: Where is your happy place? CD: Home. Not a building or a specific place, but a feeling. A less esoteric answer would be Italy.

AC: What is your prized possession? CD: My education, formal and informal.

AC: What’s your best piece of advice for an ArtCenter student who’s interested in following your career path? CD: The short answer, from a photography-business perspective is, learn how to read, understand and write a contract. If you don’t know what something means, ask for clarification. Having that clarity will save you time and heartache.

The long answer is more complicated. My career path has gone from editorial celebrity portraiture, to fashion catalogues, and now interiors and architecture. It’s been a bit of a zigzag, but all land around things I have a passion for: people, fashion and design. This has allowed me to grow and apply the principals I’ve learned from one subject to the next.

Photograph what you’re passionate about. While this doesn’t always guarantee financial success, it will give you more understanding of the subject you’re photographing.

Show your work, and meet people. You have the skills, but the relationships are just as important. Find out who you should be showing your work to. Editors at magazines? Art buyers at ad agencies? Gallerists? When I graduated, I wanted to work with magazines, so I made it a point to meet, in person, with as many magazines I could. When I shifted to photographing interiors, I made an effort to authentically connect with interior designers and publications. Beyond the initial outreach and meeting, I continue to foster those relationships and connections by finding common interests and staying in touch. Through this, I’ve made real connections and friendships with people I now get to work with.

Ask questions and listen. You don’t have to take every piece of advice given, but be open to receiving advice and critique, and apply it as you see fit. Don’t blindly reject or accept it.

Also, share your knowledge.

#ArtCenter #artcentercollegeofdesign #photography #interiors #christopher dibble #modern americana #architecture #fashion #design

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kingofthewilderwest · 4 years

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"#just because you have a bias about certain socioeconomic groups which tend to listen to country doesn't mean" // Yup. I tend to side-eye folks who are like "I like all kinds of music except country and [Insert a genre of music usually associated with Black creators like rap and hip hop]" You're not slick, ppl. I know what you're saying.

^^^^^^^^^ You hit the nail on the head.

It’s racial bias. It’s socioeconomic bias. It’s bias against people groups who have less respect and say in society.

From my tags on this post:

#don’t get me started on a long rant of the progressive side of country music and what’s been progressive FOR DECADES#from times near its BEGINNInGS#through the modern age#just because you have a bias about certain socioeconomic groups which tend to listen to country doesn’t mean#that that’s actually what the genre is or who the artists are#I could go for a LONNNNG time about this#a LONG time#some of the best protest songs I know of today’s current political situation#are country#or have like ya’ll forgotten about the folk revival#of the 1960s#or…#gahghfnfddhgnghfngh#I AM GAY AND I LISTEN TO COUNTRY#NYEH!!!!

Now. I understand disinterest in a genre because it’s not your aesthetic, but when people express their feelings for country, R&B, hip-hop, etc. …the dialogue isn’t casual “It’s not my thing.” The dialogue is a hateful, passionate retaliation.

Other genres aren’t treated like this. It’s normalized and encouraged to hate on country and rap. These genres are systematically treated with less respect and that disrespect culturally arose because these genres are associated with less-respected demographics.

(Country music is associated with people of low socioeconomic status, for people who aren’t explicitly aware.)

Anecdotally: I’ve caught something interesting about anti-country music sentiment. Many people tell me they can’t stand the “twang.” Half the time, I’ve noticed that their internalized definition of “twang” isn’t the vocal technique; it’s that they can’t stand the presence of a Southern accent. And hooboy does that have TONS of sociocultural bias issues. As a linguist, I’ve read endless sociolinguistic studies about how Southern dialects are treated as “lesser,” and how speakers of the dialect are automatically judged to be less intelligent, etc. It’s not good, folks.

Sometimes, to help friends get out of their anti-country mindset, I’ve “tricked” them into liking country. See, genres like bluegrass grew closely out of Scots-Irish folk music. Often, we’re playing the same tunes on both sides of the Atlantic. So I play a few instrumentals, my friend goes, “Oh! I love Celtic music

The biases against those demographics color how people view the music. There’s endless things that can be said about hip-hop bias, holy shit. I won’t focus on that today because I don’t believe I am qualified to be a spokesman. Someone who understands that genre better, and other genres associated with the African-American community, and is African-American, would be a better human to listen to than me. I defer to their knowledge and experience. It’s hella important to understand what bias has been reflected against those genres.

But there’s just as much bias against country music, against another demographic. And I’ve found it wild how it gets treated on places like tumblr, which wants to stand up for underprivileged groups, but somewhat inaccurately associates country music as “anti-gay conservative evil white person music” rather than music of people historically of lower socioeconomic status.

Yes, some of the demographic that listens to country music or plays country music are bad apples. But like… thinking the music is JUST THAT is a huge disservice to what country actually is and who the music artists actually are.

The history of country music is one giant collaborative melting pot of people from many different cultural backgrounds. Broad West African influence. Mexican influence. Italian influence. German influence. Scots-Irish influence. Cherokee influence. More. Early record labels like OKEH foolishly separated “hillbilly music” (presumably white folk music) from “rhythm and blues” (presumably Black folk music) without understanding the constant racial, demographic, regional, and cultural cross-pollination that occurred between the musicians from country music’s origins. And while there ARE certain issues in country music’s past and present, and we can’t let those issues go forgotten, that’s far from the whole story. We shouldn’t romanticize issues, but we should acknowledge that this music genre has given us major strides too.

Country music is the banjo, brought from Africa, combined with the mandolin, brought from Italy, combined with the fiddle, brought from Ireland, combined with the guitar and the dobro and the accordion and the upright bass and the electric guitar and the electric bass and whatever instruments you want to put in there.

Country music is African-American musicians like DeFord Bailey, the first radio star ever introduced on the Grand Ole Opry (THE most revered country music hub out there), blues harmonica performer, playing to crowds decades before segregation was de-legalized. He toured with white Opry musicians who treated him as one of their own. It’s soul music genre pioneer Ray Charles producing a studio album entirely dedicated to country music hits like “Hey Good Lookin’” from Hank Williams. It’s country star Charley Pride, who despite the racism against him in the 1960s rose to fame and made audiences fall in love with his beautiful voice. It’s the African-American musicians who inspired many commercial country stars, like Arnold Shultz influencing Bill Monroe and the railroad workers inspiring Jimmie Rodgers.

Country music is stars like Johnny Rodriguez and Rick Treviño, singing country music in Spanish, and using obvious Latin flavors in the genre.

Country music is filled with badass women like the ladies who STARTED THE GENRE ROLLING IN THE FIRST PLACE, Sara Carter and Mother Maybelle Carter (whose guitar style is hugely influential to this day) and Maybelle’s daughters Helen, June, and Anita; the first female music manager in the music industry, Louise Scruggs; songwriters like Felice Bryant and Loretta Lynn; the most awarded female artist in Grammy history Alison Krauss; and powerhouses like Dolly Parton who stepped out of an over-controlling entertainer’s shadow to become a badass in all things like supporting the LGBTQ community, contributing to pro-transgender films ahead of their time, and starring in sex worker positive productions like “The Best Little Whorehouse in Texas.”

Country music is filled with activism. Johnny Cash showed a heart for those forgotten by society. He toured many times in prisons. Cash especially was an activist for Native American rights. He toured with Native American songwriters so audiences could hear their own words (I’ve been trying to find names but I’m having difficulties re-finding that information, so my apologies for not giving names of those who deserve to be mentioned). Cash released albums dedicated to exposing past and present injustices against the Native American people. He went on tours specifically to Native American reservations.

And it’s not just Johnny Cash!

Country music is many stars from the Grand Ole Opry banding together to release AIDS benefit albums - big names like Alison Krauss, Willie Nelson, Marty Stuart, aurgh I’m too lazy to write them all, PEOPLE.

Country music is Earl Scruggs and his sons playing at the Vietnam War Protests.

Country music is tied in with the fucking folk revival of the 1960s, which was deep in left-wing activism and the Civil Rights Movement. Folk singers sang traditional Appalachian and English ballads alongside their own compositions, topical pieces protesting the current political situation. You can call one artist “folk” or “Americana” and another one “country,” but the influences were intermingling, and it’s why we have Bob Dylan and Woody Guthrie and Joan Baez and John Denver and Pete Seeger owning a banjo that says, “This machine surrounds hate and forces it to surrender.”

Dammit, I have a full BOOK that discusses country music and political ties.

There’s another book out there, which I haven’t read, that discusses the relationship between country music and the queer community, and how bias against country music is NOT as reflective of the listening demographic as we stereotype. I’ll take the word of one reviewer who said:

[Nadine Hubbs] explores country music lyrics, presenting a great deal of evidence suggesting that working class America is not inherently homophobic, but that as middle class cultural taste has changed to include formal acceptance of homosexuality, this process has included pinning homophobic ideas on the working class.

Country music is lyrics like this 1975 controversial song “The Pill”:

You wined me and dined meWhen I was your girlPromised if I’d be your wifeYou’d show me the worldBut all I’ve seen of this old worldIs a bed and a doctor billI’m tearing down your brooder house‘Cause now I’ve got the pillAll these years I’ve stayed at homeWhile you had all your funAnd every year that’s gone byAnother baby’s comeThere’s a-gonna be some changes madeRight here on nursery hillYou’ve set this chicken your last time‘Cause now I’ve got the pill

Country music is lyrics like this 2013 song that feels as relevant than ever:

If crooks are in charge, should we let them pick our pockets?If we don’t want trouble, should we not try to stop it?We could just sink into the quicksand slavery we’re born inBut fighting endless wars for greedy liars is getting pretty boringThey think they got us trained, so we’ll think we’re living freeIf we got time and money for junk food and TVBut it’s plain honest people never stand a chance of winning electionsThey just let us pick which liars take our rights away for our own protectionThe corporate propaganda paralyzes us with fearDestroying our ability to trustFear keeps us fighting with each other over scrapsStarving to death in the dustOrganized religion really helps you submitBut the meek are inheriting the short end of the stickFear surrounds compassion like a layer of moldAnd weakens our defenses so we’re too weak to be boldLife could be heaven, but this corrupted systemTakes away our rights, expects us not to miss themThe middle class is shrinking while the lower class growsIf we don’t wake up soon, we’ll have no class left to lose

Country music is Christians themselves criticizing the hypocritical Evangelical culture in the USA for the bullshit hatefulness stewing inside it:

Every house has got a Bible and a loaded gunWe got preachers and politicians‘Round here it’s kinda hard to tell which oneIs gonna do more talkin’ with a crooked tongue

And as that one post I just reblogged shows, there’s MANY queer country musicians out there producing explicitly pro-LGBTQ+ music.

I’m brushing over so much. I’m sorry for the simplification that goes with me doing such a pass-by overview. I’m sorry I’m focusing more on history than the present (I know more about the 1920s-1960s eras, so I’m talking from my strong suit). I hope the information is at least strong enough to get my point across.

There are definitely listeners and artists in country music who are uber-conservative white hateful Christians. Yes. I know why country music gets associated with that. But.

Country music is not ABOUT this uber-conservative white hateful Christian side. The genre is not “polluted”. It is a thousand voices from a thousand perspectives of people from many backgrounds and beliefs. And many of those thousand voices are old traditional songs that came from Black communities, or were composed by Mexican-Americans, or were performed by folk artists as part of a protest for equal rights.

(Note: I’m *NOT* saying all Christians are bad or that different political angles don’t have merits. I’m Christian myself! And you don’t know my political party. I’m just trying to get the point across that country music isn’t ENTRENCHED in one questionable demographic.)

You don’t have to like country music. It doesn’t have to be your aesthetic. But if you find it fun to get in on society’s popular country hate roasting… please rethink this. The reason country music has been hated from its roots is because it’s associated with the socioeconomically disadvantaged.

I’m with you 100%, Ashley. When someone says they like all genres “except country music and rap,” I get a little leery. I used to be one of those people when I was younger. I had to learn to grow past those biases. But once I did, I realized there was so much I was hating on that I didn’t understand. Now, I hope I can help people overcome their own biases, such as ones they don’t realize they’ve had - for things like music.

Hi ya’lls. I’m queer and I love country.

P.S. If anyone has anything to add or correct, please feel free to add on! I’m doing my best but I do not know everything and would be happy to learn more, too!

#ashleybenlove #long post #music #non-dragons #that banjo business #analysis #my analysis #music analysis #note that there's a version of this post where it's been reblogged and added on and I chat about Elvis and stuff #but the starting text is from an earlier version of this post #where I had a number of typos #XD I know they're there but I can't change those hahahahaha #I changed them here #reblog whichever version you desire though of course!#but just so you know there's a few minor factual typos in the non-edited version #I was hahaha so excited that I typed fast when I wrote it XD

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theradioghost · 4 years

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So I’ve realized recently that I actually really really like podcasts when my audio processing isn’t acting up (thanks tma!) and was wondering what recs you have for completed podcasts. I’m cool with basically any genre and theme, though I would appreciate a warning for tragedy. Thanks for your time!

Of course! I’ll put this one under a cut just so the length is a bit less ridiculous.

Some of my favorite completed shows are

Wolf 359 – a scifi comedy about four squabbling coworkers on a malfunctioning, isolated space station which then takes a hard right into a spectacular, heartwrenching drama. Not a tragedy, but many tears are shed when listening. Probably one of the best podcasts out there tbqh.

Ars Paradoxica – a modern physicist accidentally invents time travel, landing her back at the start of the Cold War and changing the course of history forever. The creators literally described it as “a tragedy” and they weren’t lying, although the finale is sort of hopefully bittersweet.

The Hidden Almanac – a grouchy professor in a plague doctor mask offers bite-sized pieces of history and hagiography from his fantastical world as well as gardening advice, occasionally interrupted and/or dragged off on unwilling shenanigans by his tequila-loving accidental necromancer best friend coworker. Fantasy writer/artist Ursula Vernon and her husband put this 4-minute show out three times a week for SEVEN YEARS, and it’s funny and cozy and poetic and can be found in full here, as there are too many episodes for most podcatchers to display.

Alice Isn’t Dead – lesbian Americana road-trip horror. A cross-country trucker searches for her missing wife while monsters and conspiracies pursue her across the vast empty and abandoned spaces of America. Actually also exists in novel form.

The Bright Sessions – records from the office of Dr. Bright, a therapist who specializes in people with strange and secret abilities. However, her patients aren’t the only ones with secrets. Personally this show never completely absorbed me like some others did, but the character writing is genuinely amazing. The story obviously also deals a lot with mental illness and some other difficult topics and content.

Our Fair City – the eight-season saga of the inhabitants of a post-apocalyptic underground city ruled over by the remnants of an insurance company, featuring mole people, lightning-harvesting sky sailors, giant ants, and a found family of mad scientists among others. Part comedy, part drama, all anticapitalist satire. You kind of have to give it a couple of seasons to find its stride (this was one of the very first shows in the podcast-based audio drama revival) but it is absolutely worth it. Disclaimer that while I am on the final season of the show I have not quite finished it yet.

Jarnsaxa Rising – a unique scifi-fantasy hybrid, in which a vengeful Norse giantess escapes imprisonment with the goal of destroying the gods and bringing about Ragnarok, only to find herself in a post-climate-change dystopian future.

Glasgow Ghost Stories – a Scottish woman begins noticing the many ghosts inhabiting the streets of her city; but the ghosts have begun to notice her too, and not all of them are friendly. Pigeons are involved.

Big Data – an odd little heist comedy about a rogue journalist investigating a spectacular crime in which the “seven keys to the internet” are stolen, leading to a story about hacking in which no actual hacking is involved. There are two fun side notes to it: one, everything that happens in it could technically happen in real life. Two, it involves an absurd amount of cameos from other well-known podcasts (and also Taika Waititi?), which you don’t need to get to follow the story but which make it kind of hilarious on a whole other level when you listen to those shows.

I Am In Eskew – a surreal, intense, disturbingly poetic horror about a man trapped in a shifting, malevolent, impossible city, and a woman on the outside trying to find him. Extremely good but I do recommend thoroughly checking the trigger warnings on this one. (Surprisingly non-tragic finale, although not a typical “happy ending.”)

The Alexandria Archives – half comedy and half horror, in the form of a late-night radio show at Alexandria University, on the edge of North Carolina’s Great Dismal Swamp. Half of each episode is a standalone cosmic horror story set in and around the town of Alexandria. The other half features the antics of the university’s students, including the host MW and her friends who are definitely Canadian exchange students, and not a vampire hiding from his ex and a bunch of stranded space pirates. (A little goofy? Yes, but I love it a ton for all its faults anyway. Also, some of the short stories are genuinely terrifying.)

and also, some completed miniseries!!

The Tower – a gorgeous experimental audio drama in which a young woman decides to climb the mysterious Tower, from which no one ever returns.

Time:Bombs – a comedy by the folks who made Wolf 359 about a bomb disposal squad on New Year’s Eve, trying to survive their leader’s obsession with breaking a record.

They Say a Lot of Things – upon discovering that she can interact with a dropped tape recorder, the ghost of a young girl tells her story, interwoven with the stories of those who have passed through the abandoned house that she cannot leave over the years that she’s haunted it.

Podcaster A. R. Olivieri specializes in microfiction miniseries, ranging from scifi to experimental to fantasy. (Side note, a lot of his work crosses over with the still-running scifi podcast Girl In Space, but you don’t need to have listened to GIS to understand what’s going on in his shows.)

Nym’s Nebulous Notions – a self-declared investigative journalist decides to check out a mysterious SOS signal and finds herself on a mysteriously abandoned ship – or so she thinks. Arguably a tragedy, although not necessarily in the way you might think.

Palimpsest – technically not finished, but each season of this anthology makes up a complete 10-part story, and seasons 1 and 2 are complete. Season 1 is a ghost story about a woman who is suspicious about strange happenings in her new home and her odd new neighbors. Season 2 is a turn-of-the-century dark urban fantasy about a girl who escapes her career criminal mother’s house, taking a job as the companion to what her new employer claims is an imprisoned faerie princess. (Season 3 is ongoing and is about a codebreaker who begins seeing ghosts on London’s streets during the Blitz.) It’s a heartbreaking sort of show, albeit in a very beautiful and moving way.

The Details is a short piece about an office worker who goes in to negotiate for a promotion and finds himself negotiating with the devil himself instead. The number of genuinely surprising and excellent twists it packs into just 45 minutes is really fun.

The London Necropolis Railway – a really underappreciated little fantasy-mystery about a recently-dead detective who refuses to board the train scheduled to take her to the afterlife until one of its hapless employees helps her solve her supernatural murder.

Janus Descending – a scifi horror told in two intertwining perspectives, one in reverse order and one in chronological order, about two scientists who land on a remote planet to investigate the ruins of its lost civilization, only to encounter the thing that killed the former inhabitants. A fantastic story told in a really clever and unique way, but stamp a big old tragedy warning all OVER this one, although because of the structure you technically know how it’s going to end right from the start – what makes this show so good is how you get there. It will make you cry, though.

… and also my show, Midnight Radio, which is about lesbian romance, small towns, old radio shows, the good and bad sides of nostalgia, and ghost stories.

#Anonymous #asks #my posts #podcast recs #bobbie recommends things

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sciencespies · 3 years

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The Top Ten Online Exhibitions of 2020

https://sciencespies.com/history/the-top-ten-online-exhibitions-of-2020/

The Top Ten Online Exhibitions of 2020

SMITHSONIANMAG.COM | Dec. 31, 2020, 10:48 a.m.

In recent years, curators and educators have increasingly started exploring the many possibilities offered by virtual exhibitions. Hundreds of institutions have made 3-D tours of their galleries available online through Google Arts & Culture and similar platforms, allowing visitors from around the world to virtually “wander” through the Van Gogh Museum in Amsterdam, Frida Kahlo’s Casa Azul in Mexico City, the Tokyo National Museum and other significant sites.

But when the Covid-19 pandemic forced museums to shutter for most of 2020, public interest in virtual art experiences skyrocketed like never before. Closed to the public and financially strained, many museums nevertheless managed to create thought-provoking alternatives to in-person viewing.

Digital offerings in the United States ranged from the Morgan Library & Museum’s interactive retrospective of Al Taylor’s drawings to the Museum of Modern Art’s (MoMA) “Virtual Views” of Surrealist women. Abroad, exhibitions such as the Rijksmuseum’s interactive version of a Rembrandt masterpiece offered viewers a chance to literally “zoom in” on a single piece of art—and perhaps notice new details that would’ve otherwise gone unnoticed. In London, meanwhile, Tate Modern adapted its “Andy Warhol” show by creating a curator-led tour that takes users through the exhibition room by room.

The Smithsonian Institution also made impressive forays into the world of online exhibitions. A beautifully illustrated portal created by the National Museum of American History and the Smithsonian American Women’s History Initiative examined how girls have shaped history, while a landmark show at the Smithsonian American Art Museum spotlighted Chicano activists’ pioneering printmaking. At the National Museum of Natural History, curators catered to science enthusiasts with narrated virtual tours of various exhibits and halls; at the National Air and Space Museum, aviation experts produced panoramic views of famed aircraft’s interiors. Other highlights included the National Museum of Asian Art’s virtual reality tour of six iconic monuments from across the Arab world, the Cooper Hewitt’s walkthrough of “Contemporary Muslim Fashions,” and the National Museum of African American History and Culture’s exploration of black soldiers’ experiences during World War I. (For a more complete list of offerings, visit the Smithsonian’s online exhibitions portal.)

To mark the end of an unprecedented year, Smithsonian magazine is highlighting some of the most innovative ways in which museums helped craft meaningful virtual encounters with history and art. From first ladies to women writers and Mexican muralists, these were ten of our favorite online exhibitions of 2020.

“Every Eye Is Upon Me: First Ladies of the United States”

The Smithsonian’s National Portrait Gallery (Washington, D.C.)

Click this image to view the online exhibition. Depicted clockwise from top left: Mamie Eisenhower, Lady Bird Johnson, Grace Coolidge, Nancy Reagan, Dolley Madison, Abigail Fillmore, Frances Cleveland and Sarah Polk.

(Illustration by Meilan Solly / Photographs via NPG)

Visitors to the National Portrait Gallery’s presidential wing have long called for an exhibition devoted to the U.S.’ first ladies. But as Alicia Ault points out for Smithsonian, these women haven’t always been recognized as important individuals in their own right—a fact reflected in the relative dearth of portraiture depicting them. The gallery itself only began commissioning official portraits of the first ladies in 2006.

“Every Eye Is Upon Me: First Ladies of the United States” seeks to redress this imbalance by presenting 60 portraits—including photographs, drawings, silhouettes, paintings and sculptures—of American presidents’ wives. Though the physical exhibition is currently closed due to the Covid-19 pandemic, would-be visitors can explore a virtual version featuring high-resolution images of first ladies from Martha Washington to Melania Trump, as well as brief biographies, podcasts and blog posts. The portraits are as “varied as the women themselves,” who all responded to the unique challenges and pressures of their office in different ways, writes Ault.

Inspiration for the exhibition’s title comes from Julia Gardiner, who was the first woman to marry a president in office. Born into a wealthy Long Island slaveholding family, Gardiner was just 24 years old when she wed John Tyler in 1844. As Gardiner prepared to take on the high-profile role, she wrote in a letter to her mother that she knew she would be scrutinized: “I very well know every eye is upon me, my dear mother, and I will behave accordingly.”

“Jacob Lawrence: The American Struggle”

Peabody Essex Museum (Salem, Massachusetts)

One of black history’s preeminent visual storytellers, Jacob Lawrence employed Modernist forms and bright colors to narrate the American experience through the eyes of the country’s most marginalized citizens. This year, the Peabody Essex Museum in Salem, Massachusetts, reunited one of Lawrence’s most groundbreaking series—Struggle: From the History of the American People (1954–56)—for the first time in 60 years.

In 30 hardboard panels, each measuring 12 by 16 inches, Lawrence traces American history from the Revolutionary War to 1817, covering such events as the Boston Tea Party and the nation’s bloody, prolonged campaigns against Native Americans, as Amy Crawford wrote for Smithsonian in June. Virtual visitors can stroll through the exhibition, aptly titled “Jacob Lawrence: The American Struggle,” or zoom in on images of each panel. Entries are accompanied by related artworks and reflections from scholars.

When the show traveled to the Metropolitan Museum of Art in New York City, it sparked an exciting reunion. A museum visitor recognized the panels’ distinct Modernist style and realized that her neighbors, a couple living on the Upper West Side, had a similar painting hanging in their living room. Curators determined that the panel, which depicts Shay’s Rebellion, was one of five missing works from the Struggle series. No photographs of the panel had survived, and it had been presumed lost for decades—but as curator Randall Griffey told the New York Times, it turned out to be “just across the park” from the museum.

“Vida Americana: Mexican Muralists Remake American Art, 1925–1945”

Whitney Museum of American Art (New York City)

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When the Mexican Revolution drew to a close in 1920 after ten years of armed struggle, the country was left profoundly changed. But among artists of the post-revolutionary period, a new cultural revolution was just beginning. Over the next several decades, artists like the famed Tres Grandes, or Big Three—José Clemente Orozco, Diego Rivera and David Alfaro Siqueiros—started crafting radical, large-scale works that embraced Mexico’s Indigenous cultures and told epic narratives about the nation’s history.

As “Vida Americana,” an ongoing exhibition at the Whitney Museum of American Art, argues, these sweeping, dynamic murals also had a major impact on Mexico’s neighbors to the north. As Mexican artists traveled to the U.S. (and vice versa), they taught their peers how to break free of European conventions and create public art that celebrated American history and everyday life. On the show’s well-organized online hub, art lovers can explore short documentaries, audio guides, essays and other resources in both Spanish and English. Click through some of the selected artworks from the show to encounter Rivera’s Detroit Institute of Art masterpiece, a massive 27-mural cycle that offered Americans reeling from the Great Depression a visionary outlook of their country’s future industrial potential, and Siqueiros’ experimental workshop, which directly inspired Jackson Pollock’s Abstract Expressionism.

“Dorothea Lange: Words & Pictures”

The Museum of Modern Art (New York City)

youtube

Recognized today as one of America’s foremost photographers, Dorothea Lange is known for her arresting portraits of the human condition and keen social awareness—qualities perhaps best exemplified by her 1936 image Migrant Mother, which became a de facto symbol of the Great Depression.

But few people know that Lange was also enamored with the written word. As she once said, “All photographs—not only those that are so called ‘documentary’… can be fortified by words.” Lange believed that words could clarify and add context to photographs, thereby strengthening their social impact. In her landmark photobook An American Exodus: A Record of Human Erosion, she became one of the first photographers to incorporate her subject’s own words into her captions, as Smithsonian reported in August.

Through this MoMA exhibition’s online hub, viewers can read selections of Lange’s writing, watch a series of short videos on her work, listen to interviews with curator Sarah Meister, and—of course—take their time studying close-up versions of the artist’s iconic photographs.

“Writing the Future: Basquiat and the Hip-Hop Generation”

Museum of Fine Art, Boston (Boston, Massachusetts)

youtube

Jean-Michel Basquiat is often touted as a singular genius. His large-scale works, which riff on color, phrases and iconography to probe issues of colonialism, racism and celebrity, regularly fetch enormous sums at auction.

But the graffiti artist–turned–painter, who died of a heroin overdose at age 27, didn’t develop his artistic vision in a vacuum: Instead, he was profoundly influenced by a network of peers and close collaborators. “Writing the Future: Basquiat and the Hip-Hop Generation,” which opened at the Museum of Fine Arts, Boston, in October, is the first show to consider the influence of Basquiat’s large circle of mainly black and Latino collaborators, all of whom shaped the painter’s artistic vision in 1980s New York City.

The museum complemented its in-person show with a multimedia-heavy online exhibition, which includes detailed essays, images of works in the show and clips of interviews with the artist. Viewers are encouraged to scour lesser-known artworks from Basquiat’s peers, such as the “Gothic futurist” paintings of Rammellzee and the rebellious murals of Lady Pink, in search of themes and styles that Basquiat echoed in his own work.

“Making the Met, 1870–2020”

Metropolitan Museum of Art (New York City)

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A group of businessmen and civic leaders purchased the Metropolitan Museum of Art’s first work—a marble sarcophagus from ancient Rome—in 1870. Since then, the museum’s collections have become some of the greatest troves of cultural heritage in the world, constituting an encyclopedic range of artifacts that attracts millions of visitors each year.

This year, the Manhattan museum celebrated its 150th birthday by hosting a celebratory exhibition and slate of virtual offerings: Among others, the list of digital resources includes an hour-long audio tour of some of the exhibition’s highlights, as narrated by actor Steve Martin; an interactive online version of the show; and a virtual walkthrough courtesy of Google Arts and Culture. Met officials also made a rare gem available for public viewing: Behind the Scenes: The Working Side of the Museum, a silent 1928 documentary that depicts curators and janitors at work in the iconic New York building.

“The Museum of the World”

The British Museum (London, England)

Click this image to access the interactive timeline.

(Screenshot via British Museum / Google Arts & Culture)

An innovative example of the possibilities of online exhibitions, the British Museum’s “Museum of the World” debuted in February 2020—and it couldn’t have been better timed. Though the museum remained closed to in-person visitors for much of the year, desktop computer users were able to use this interactive timeline to visualize connections between different items in the museum’s vast collections.

On the website, which the museum developed in partnership with Google Arts & Culture, viewers can trace links through time and space, jumping from a handscroll describing courtly behavior of ladies in the Eastern Jin Dynasty of China to the jade plaque of a Maya king. With a slick interface and audio elements, the timeline encourages viewers to take an interactive, self-directed trip through the material culture of human history.

Notably absent from the project is an acknowledgement of the London museum’s colonialist history, which came under renewed scrutiny this summer amid global protests against systemic racism. In August, the cultural institution moved a bust of its founder, who profited from the enslavement of people in Jamaica, to a new display featuring added contextualization. As Aditya Iyer writes for Hyperallergic, the museum recently made a “promising but flawed start [at] grappling with” this legacy by curating a self-guided tour titled “Empire and Collecting.” Available online in an abbreviated format, the tour traces the “different, complex and sometimes controversial journeys of objects” that entered the collections, according to the museum’s website.

“The Night Watch”

The Rijksmuseum (Amsterdam, the Netherlands)

Click this image to access the interactive portal.

(Screenshot via the Rijksmuseum)

In this new hyper-resolution view of Rembrandt van Rijn’s The Night Watch, art lovers can pore over every detail of the Dutch master’s most famous painting—down to every crack and stray paint splatter, as Theresa Machemer wrote for Smithsonian in May. The Rijksmuseum in Amsterdam debuted the interactive version of its prized painting as part of a lengthy restoration process dubbed Operation Night Watch. Last year, experts began restoring the 11- by 15-foot painting in a glass chamber installed in the middle of the museum, offering visitors a rare behind-the-scenes glimpse at the conservation process.

Officially titled Night Watch, Militia Company of District II under the Command of Captain Frans Banninck Cocq, the 1642 painting depicts a captain instructing a cadre of soldiers. In the online guided tour (which comes with options for children and adults), users can zoom in on different aspects of the painting while a soundscape—the swish of a cloak, a horse’s hooves, an eerie melody, a far-off bell—sets the mood. Look for Rembrandt’s signature, his presumed self-portrait lurking in the painting’s background, the striking young girl with a chicken dangling from her belt and other mysterious elements embedded in the action-packed scene.

According to a statement, the image combines 528 exposures into one composite, making it the most detailed rendering of Rembrandt’s masterpiece ever created. The project is a prime example of how online galleries can encourage viewers to engage in repeated, close study of the same piece of art—and proof that they can always discover something new.

“Van Eyck: An Optical Revolution”

Museum of Fine Arts Ghent (Ghent, Belgium)

Click this image to access the virtual experience.

(Screenshot via Museum of Fine Arts Ghent)

Curators and art enthusiasts were crushed when the pandemic forced a blockbuster Jan van Eyck exhibition at the Museum of Fine Arts in Ghent to close less than two months after opening. The once-in-a-generation show—titled “Van Eyck: An Optical Revolution”—represented the largest-ever display of van Eyck’s paintings and was “so unlikely to be repeated that the museum might as well use ’now or never,’” as J.S. Marcus wrote for the Wall Street Journal in January.

In response to the unexpected closure, the museum pivoted, partnering with Belgian virtual reality company Poppr to create a 360-degree tour of the gallery with accompanying audio guides for adults and children. Star items featured in the show included Portrait of a Man (Léal Souvenir) and panels from the spectacular Ghent Altarpiece, whose center panel depicts Jesus as a sacrificial lamb on an altar, alive but bleeding from a wound. Prior to the exhibition, the panels had not left their home in St. Bavo’s Cathedral since 1945, as Sophie Haigney reported for the New York Times earlier this year.

Born in 1390 in what is now Belgium, van Eyck created spectacularly detailed oil paintings of religious scenes. As the show’s website notes, only about 20 of the Flemish master’s paintings survive today.

“Wise and Valiant: Women and Writing in the Golden Age of Spain”

Instituto Cervantes (Madrid, Spain)

Click this image to browse the exhibition’s essays and artworks online.

(Screenshot via Instituto Cervantes)

Spain’s Golden Age is perhaps best known for producing Miguel Cervantes’ Don Quixote, El Greco’s eerily elongated portraits and Lope de Vega’s prolific plays. But as the now-closed exhibition “Wise and Valiant” showed, these individuals and their male peers weren’t the only creative geniuses at work during the 16th and 17th centuries. Though women’s opportunities at the time were largely limited to the domestic and religious spheres, a select few took advantage of the relative intellectual freedom offered by life in a convent to pursue writing professionally.

From Mexican nun Sor Juana Inés de la Cruz to playwright Ana Caro and nun-turned-soldier Catalina de Erauso, hundreds of women across the Spanish Empire published poetry, diaries, novels, dramatic works and travelogues. Though many of these works have since been lost or forgotten, scholars are increasingly taking steps to recover their authors’ hidden stories—a trend reflected in the Madrid show, which explored women writers’ lives through a display of more than 40 documents. As Lauren Moya Ford observed in Hyperallergic’s review of the show, the online version of the exhibition (available in both Spanish and English) presents their stories in a “format well-suited to this dense, delicate material.” Users can delve into digitized historical documents, browse curator commentary and watch a video montage of relevant clips.

#History

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gu-fem · 4 years

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Is Taylor Swift the Definition of the Modern White Womanhood?

Written by: Julia Zhigaleva

Call me dumb, call me white, but Taylor Swift’s music has been my guilty pleasure for so long that I eventually stopped feeling guilty about it. You guys, I’m not even kidding when I say that I grew up with Taylor Swift – from crying after school to Teardrops on My Guitar when the guy I liked chose to date my best friend over me, to dressing up like hipsters with my friends and partying to 22 in my college years, to taking forever to get over breakups with All Too Well, to lip-syncing to myself in the mirror to Blank Space wearing red lipstick, to trying to convince my significant other why Lover definitely has to one day play at our wedding.

As we grew up with Taylor, she grew up with us – from an overly dramatic teenager occupied with boy drama from the Fearless era, to a hopeless young romantic of Red and 1989, to an unapologetic bitch from Reputation, to folklore’s big sister Taylor who braids your hair and makes sure you don’t repeat the mistakes she made in her youth. To me Taylor Swift has always been the embodiment of the modern white womanhood, which in my opinion is also a secret to her huge commercial success. If you’re a girl and you don’t know a single Taylor Swift song you could relate to, you’re probably lying.

This to me is also the reason why haters are always gonna hate – if Taylor Swift embodies so much of the modern femininity, the reason behind the overwhelming hatred towards the singer could easily be misogyny. “Overly dramatic, shallow, immature and always playing the victim” – for years Swift has been bullied for loving our loud, singing her heart out and trying to grow up and figure herself out while being one of the most commercially successful artists in the world. Constantly in the public eye, the singer has often been accused of using this public obsession with her private life to promote her music, which was then dismissed as too girly or not worthy of attention – the double standard Swift herself called out in The Man.

And then we have the Taylor vs Kanye feud, which is honestly on the list of my possible PhD thesis ideas, as this decade-long beef has everything you could possible wish for - race, gender, cyber bullying, mental health, and even Barack Obama. When Kim’s Snapchat stories broke the internet back in 2016, it led to the outbreak of hatred like never before, with dozens of spiteful articles against Taylor appearing online and tons of snake emojis flooding the comments of the singer’s Twitter and Instagram accounts. And that’s when people that are normally impartial to Swift drama jumped in and reminded that not only is the girl completely crazy, but she also never in her life used her privilege to speak up social injustice and remained politically neutral during 2016 election race. Officially canceled and proclaimed dead, Swift was forced into an exile that very few of us believed she would ever recover from.

Coming back with her Reputation album, Swift literally reinvented herself, burying her most iconic past selves in the music video for Look What You Made Me Do. But it wasn’t until she put out Miss Americana on Netflix, which, let’s be real, we all watched while being bored at home in quarantine, that Taylor won back over so many of those who turned their backs on her back when the Kim drama happened. In the documentary we get to see the private side of the singer’s life, as well as hear her side of the story on all the scandals that followed her in the past couple of years. Swift confesses that she has always felt pressured to be perfect and unproblematic, which held her from ever taking a political stance, truly speaking her mind, and eventually led her to developing an eating disorder.

"A nice girl smiles and waves and says thank you. A nice girl doesn’t make people feel uncomfortable with her views. I was so obsessed with not getting in trouble that I’m just not going to do anything that anyone can say something about." – Miss Americana (2020).

I was sad to see that Taylor’s epic comeback was actually yet another attempt to fit into the image of the exemplary femininity, the new little miss perfect of 2020 - the good girl going bad. We see in the meeting room scene how Swift tries to convince some old white dudes from her management team that taking a public stance against the Republican candidate in Tennessee is the right and important thing to do even if it hurts the Taylor Swift brand. But the truth is, Miss Americana is actually Swift doing damage control after being criticised for being artificially perfect, calculated and politically estranged. If in 2010 good girls curled their hair, skipped lunch and obsessed over cute boys, in 2020 they wear slogan tees, joke about straight white men and have at least one gay friend they can paint their nails with. Yet I wouldn’t dare to accuse Taylor Swift of being hypocritical and self-serving with her recent political activism.

“For someone who’s built their whole belief system on getting people to clap for you, the whole crowd booing is a pretty formative experience.” – Miss Americana (2020)

Taylor confessing that she had based her entire self-image on the constant approval and praise from others, hit too close to home. It made me think that as easy as it would be to point out that the singer who built her entire career upon the society’s conventional idea of femininity, doesn’t get to jump on the bandwagon and call herself a feminist, one cannot in good conscience blame Swift for wanting to fit in, be approved and accepted. In Miss Americana I saw Taylor fighting the losing battle of having to be a 'good girl’ in order to stay relevant and successful, yet being mocked and dismissed for this very conventional femininity of hers. Taylor opening up about her constant pursuit of perfection and need for validation in the world of unreachable standards set for women was perhaps the most vulnerable part of her documentary and it is certainly a struggle many of us can relate to.

Coming from a place of race and class privilege, possessing conventional beauty, and being adorably naive in her attempts to dismantle the patriarchy with the songs like The Man and You Need to Calm Down, still, Taylor Swift is the ultimate white girl that we can’t help but relate to. May she finally find her true self and may we all be lucky enough to be able to do the same.

#taylor swift #feminism #pop culture #miss americana

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theculturedmarxist · 4 years

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My dad was born in 1917. Somehow, he survived the Spanish Flu pandemic of 1918-1919, but an outbreak of whooping cough in 1923 claimed his baby sister, Clementina. One of my dad’s first memories was seeing his sister’s tiny white casket. Another sister was permanently marked by scarlet fever. In 1923, my dad was hit by a car and spent two weeks in a hospital with a fractured skull as well as a lacerated thumb. His immigrant parents had no medical insurance, but the driver of the car gave his father $50 toward the medical bills. The only lasting effect was the scar my father carried for the rest of his life on his right thumb.

The year 1929 brought the Great Depression and lean times. My father’s father had left the family, so my dad, then 12, had to pitch in. He got a newspaper route, which he kept for four years, quitting high school after tenth grade so he could earn money for the family. In 1935, like millions of other young men of that era, he joined the Civilian Conservation Corps (CCC), a creation of President Franklin Delano Roosevelt’s New Deal that offered work on environmental projects of many kinds. He battled forest fires in Oregon for two years before returning to his family and factory work. In 1942, he was drafted into the Army, going back to a factory job when World War II ended. Times grew a little less lean in 1951 when he became a firefighter, after which he felt he could afford to buy a house and start a family.

I’m offering all this personal history as the context for a prediction of my dad’s that, for obvious reasons, came to my mind again recently. When I was a teenager, he liked to tell me: “I had it tough in the beginning and easy in the end. You, Willy, have had it easy in the beginning, but will likely have it tough in the end.” His prophecy stayed with me, perhaps because even then, somewhere deep down, I already suspected that my dad was right.

The COVID-19 pandemic is now grabbing the headlines, all of them, and a global recession, if not a depression, seems like a near-certainty. The stock market has been tanking and people’s lives are being disrupted in fundamental and scary ways. My dad knew the experience of losing a loved one to disease, of working hard to make ends meet during times of great scarcity, of sacrificing for the good of one’s family. Compared to him, it’s true that, so far, I’ve had an easier life as an officer in the Air Force and then a college teacher and historian. But at age 57, am I finally ready for the hard times to come? Are any of us?

And keep in mind that this is just the beginning. Climate change (recall Australia’s recent and massive wildfires) promises yet more upheavals, more chaos, more diseases. America’s wanton militarism and lying politicians promise more wars. What’s to be done to avert or at least attenuate the tough times to come, assuming my dad’s prediction is indeed now coming true? What can we do?

It’s Time to Reimagine America

Here’s the one thing about major disruptions to normalcy: they can create opportunities for dramatic change. (Disaster capitalists know this, too, unfortunately.) President Franklin Roosevelt recognized this in the 1930s and orchestrated his New Deal to revive the economy and put Americans like my dad back to work.

In 2001, the administration of President George W. Bush and Vice President Dick Cheney capitalized on the shock-and-awe disruption of the 9/11 attacks to inflict on the world their vision of a Pax Americana, effectively a militarized imperium justified (falsely) as enabling greater freedom for all. The inherent contradiction in such a dreamscape was so absurd as to make future calamity inevitable. Recall what an aide to Secretary of Defense Donald Rumsfeld scribbled down, only hours after the attack on the Pentagon and the collapse of the Twin Towers, as his boss’s instructions (especially when it came to looking for evidence of Iraqi involvement): “Go massive — sweep it all up, things related and not.” And indeed they would do just that, with an emphasis on the “not,” including, of course, the calamitous invasion of Iraq in 2003.

To progressive-minded people thinking about this moment of crisis, what kind of opportunities might open to us when (or rather if) Donald Trump is gone from the White House? Perhaps this coronaviral moment is the perfect time to consider what it would mean for us to go truly big, but without the usual hubris or those disastrous invasions of foreign countries. To respond to COVID-19, climate change, and the staggering wealth inequities in this country that, when combined, will cause unbelievable levels of needless suffering, what’s needed is a drastic reordering of our national priorities.

Remember, the Fed’s first move was to inject $1.5 trillion into the stock market. (That would have been enough to forgive all current student debt.) The Trump administration has also promised to help airlines, hotels, and above all oil companies and the fracking industry, a perfect storm when it comes to trying to sustain and enrich those upholding a kleptocratic and amoral status quo.

This should be a time for a genuinely new approach, one fit for a world of rising disruption and disaster, one that would define a new, more democratic, less bellicose America. To that end, here are seven suggestions, focusing — since I’m a retired military officer — mainly on the U.S. military, a subject that continues to preoccupy me, especially since, at present, that military and the rest of the national security state swallow up roughly 60% of federal discretionary spending:

1. If ever there was a time to reduce our massive and wasteful military spending, this is it. There was never, for example, any sense in investing up to $1.7 trillion over the next 30 years to “modernize” America’s nuclear arsenal. (Why are new weapons needed to exterminate humanity when the “old” ones still work just fine?) Hundreds of stealth fighters and bombers — it’s estimated that Lockheed Martin’s disappointing F-35 jet fighter alone will cost $1.5 trillion over its life span — do nothing to secure us from pandemics, the devastating effects of climate change, or other all-too-pressing threats. Such weaponry only emboldens a militaristic and chauvinistic foreign policy that will facilitate yet more wars and blowback problems of every sort. And speaking of wars, isn’t it finally time to end U.S. involvement in Iraq and Afghanistan? More than $6 trillion has already been wasted on those wars and, in this time of global peril, even more is being wasted on this country’s forever conflicts across the Greater Middle East and Africa. (Roughly $4 billion a month continues to be spent on Afghanistan alone, despite all the talk about “peace” there.)

2. Along with ending profligate weapons programs and quagmire wars, isn’t it time for the U.S. to begin dramatically reducing its military “footprint” on this planet? Roughly 800 U.S. military bases circle the globe in a historically unprecedented fashion at a yearly cost somewhere north of $100 billion. Cutting such numbers in half over the next decade would be a more than achievable goal. Permanently cutting provocative “war games” in South Korea, Europe, and elsewhere would be no less sensible. Are North Korea and Russia truly deterred by such dramatic displays of destructive military might?

3. Come to think of it, why does the U.S. need the immediate military capacity to fight two major foreign wars simultaneously, as the Pentagon continues to insist we do and plan for, in the name of “defending” our country? Here’s a radical proposal: if you add 70,000 Special Operations forces to 186,000 Marine Corps personnel, the U.S. already possesses a potent quick-strike force of roughly 250,000 troops. Now, add in the Army’s 82nd and 101st Airborne divisions and the 10th Mountain Division. What you have is more than enough military power to provide for America’s actual national security. All other Army divisions could be reduced to cadres, expandable only if our borders are directly threatened by war. Similarly, restructure the Air Force and Navy to de-emphasize the present “global strike” vision of those services, while getting rid of Donald Trump’s newest service, the Space Force, and the absurdist idea of taking war into low earth orbit. Doesn’t America already have enough war here on this small planet of ours?

4. Bring back the draft, just not for military purposes. Make it part of a national service program for improving America. It’s time for a new Civilian Conservation Corps focused on fostering a Green New Deal. It’s time for a new Works Progress Administration to rebuild America’s infrastructure and reinvigorate our culture, as that organization did in the Great Depression years. It’s time to engage young people in service to this country. Tackling COVID-19 or future pandemics would be far easier if there were quickly trained medical aides who could help free doctors and nurses to focus on the more difficult cases. Tackling climate change will likely require more young men and women fighting forest fires on the west coast, as my dad did while in the CCC — and in a climate-changing world there will be no shortage of other necessary projects to save our planet. Isn’t it time America’s youth answered a call to service? Better yet, isn’t it time we offered them the opportunity to truly put America, rather than themselves, first?

5. And speaking of “America First,” that eternal Trumpian catch-phrase, isn’t it time for all Americans to recognize that global pandemics and climate change make a mockery of walls and go-it-alone nationalism, not to speak of politics that divide, distract, and keep so many down? President Dwight D. Eisenhower once said that only Americans can truly hurt America, but there’s a corollary to that: only Americans can truly save America — by uniting, focusing on our common problems, and uplifting one another. To do so, it’s vitally necessary to put an end to fear-mongering (and warmongering). As President Roosevelt famously said in his first inaugural address in the depths of the Great Depression, “The only thing we have to fear is fear itself.” Fear inhibits our ability to think clearly, to cooperate fully, to change things radically as a community.

6. To cite Yoda, the Jedi master, we must unlearn what we have learned. For example, America’s real heroes shouldn’t be “warriors” who kill or sports stars who throw footballs and dunk basketballs. We’re witnessing our true heroes in action right now: our doctors, nurses, and other medical personnel, together with our first responders, and those workers who stay in grocery stores, pharmacies, and the like and continue to serve us all despite the danger of contracting the coronavirus from customers. They are all selflessly resisting a threat too many of us either didn’t foresee or refused to treat seriously, most notably, of course, President Donald Trump: a pandemic that transcends borders and boundaries. But can Americans transcend the increasingly harsh and divisive borders and boundaries of our own minds? Can we come to work selflessly to save and improve the lives of others? Can we become, in a sense, lovers of humanity?

7. Finally, we must extend our love to encompass nature, our planet. For if we keep treating our lands, our waters, and our skies like a set of trash cans and garbage bins, our children and their children will inherit far harder times than the present moment, hard as it may be.

What these seven suggestions really amount to is rejecting a militarized mindset of aggression and a corporate mindset of exploitation for one that sees humanity and this planet more holistically. Isn’t it time to regain that vision of the earth we shared collectively during the Apollo moon missions: a fragile blue sanctuary floating in the velvety darkness of space, an irreplaceable home to be cared for and respected since there’s no other place for us to go? Otherwise, I fear that my father’s prediction will come true not just for me, but for generations to come and in ways that even he couldn’t have imagined.

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alexsmitposts · 4 years

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Anti-Racist Uprising Infiltrated by Extreme-Right Hooligans The city of Minneapolis is where it all began. It is where the last drop fell on the surface of a proverbial overflowing lake, causing the dam to burst, consequently starting to destroy the foundations of the empire. A death of just one single man can, under certain dreadful circumstances, put into motion the entire avalanche of events. It can smash the whole regime into pieces. It can fully rewrite history, and even change the identity of a nation. It can… although it not always does. George Floyd’s death became a spark. The city of Minneapolis is where the murder occurred, and where the ethnic minorities rose in rage. But it is also where white extreme right-wing criminals, and some even say, entire regime, perpetrated the uprising, kidnapped what could have become a true revolution and began choking legitimate rebellion by a stained duvet of nihilism and confusion. Here, we will not speculate. We will not point fingers at “deep state” or some multi-billionaire families, and to what extent they have been involved. Let others do this if they know details. But this time, I simply came to listen. And to pass to the world what I discovered first hand and what I was told. This time I simply went to Franklin Avenue and Lake Street, both in Minneapolis. I spoke to Native American people there. To those who joined forces with the African-American community during those dangerous days after May 25, 2020. To people who dared to defend their neighborhoods against brutality against white gangs, which came to loot, infiltrate, and derail the most powerful uprising in the United States in modern history. *** Bob Rice is a Native American owner of Pow Wow Grounds, a local entrepreneur, and a ‘community protection organizer.’ His legendary café is located on Franklin Avenue. During the COVID-19 pandemic, it has been reduced, for the time being, to a takeaway business, but even as such, it is enormously popular among the Native Americans, as well as others. At the back of the cafe is huge storage, full of food. Everyone hungry, in need of help, can simply come here and take whatever he or she needs. We grab some freshly brewed coffee from the shop and take it out to the public benches outside. Bob Rice then begins his story: “There has been police brutality for a very long time, against people of color. Not only talking about Minneapolis but in all these other places, since the 1991 Rodney King incident. Things were boiling and building up – leading to a big blow up.” “And all this discrimination did not start here; it came centuries ago from Europe.” “After the George Floyd murder, I wanted to show solidarity. Native Americans were experiencing an even higher degree of persecution than Black people. We had to stand together. I went down to the site of the murder of George Floyd, in order to support protests.” For a while, we talked about the mass media in the United States, an official and even some ‘independent one,’ and how it quickly and violently turned against the left, as well as against those who have been daring to expose endemic racism in the United States. But soon, we returned to the events that took place here, in May and June. “I noticed the presence of strange elements right from the start. I was watching guys breaking windows. At about 6 am, the morning after, I traveled down to South Minneapolis. There were piles of rocks in front of the rioters. Flash hand grenades. I kept on moving around the areas and kept on seeing rocks. I noticed the Minneapolis Umbrella Man, dressed all in black, with mask and black umbrella and black hammer smashing things – at the end being stopped by black guys. People were walking out of the store with car parts, and I thought, “why stealing those things”? These guys didn’t seem to be as part of the protest. I started moving and going away from the area, thinking that these guys would burn down stores and places soon. I even called up my insurance company the following morning to see if my policy covers civil unrest. That night they burned a lot of stores – auto stores, liquor stores, all types of businesses. I thought that if we do not do something ourselves to protect our neighborhoods, they will burn down all of our areas, too.” “From what I saw, I couldn’t tell you who these guys were, but they were not from here. So, we put up our protection zone calling out people on Facebook. We became the Headquarters of protection of Native American businesses and nonprofit organizations, as well as banks, shops, investment properties, etc. all belonging to the Native American community around here. I noticed there were Caucasian people, driving cars very slowly with no license plates, yelling racial slurs out of the windows. We formed a human shield, chain, along Franklin Avenue, to protect ourselves and our people. At a high point, about 300 people were protecting the area all night long for about eight days in a row. It had to be done, because here we had people from all over, including Wisconsin, descending on us – we had white supremacist group Proud Boys here. They arrived wearing masks. We had young white kids – 16 and 17 years old – coming from Wisconsin, looting liquor stores. We caught them. Obviously, they came out here because they thought it was an exciting thing to do. They didn’t even know where they were – this area is very dangerous with drug dealing and gang violence at night. Lucky, they got caught by us.” And the coverage? I wanted to know whether these events, in the heart of Native American neighborhoods, were described in depth by media reports. Bob Rice replied readily: There was no media reporting on these matters – mass media blamed everything on the Black Lives Matter movement. When liquor stores and tobacco shops were on fire, no police or fire trucks were around. Then the National Guard took over – using tear gas. Mr. Rice sighed, still in disbelief: Just incredible how our so-called President has done all the mess going and even made it worse! *** Robert Pilot, Native Roots Radio host, drove me for days all around the cities of Minneapolis and St. Paul, explaining what really took place on both Franklin Avenue and Lake Street. But before, we visited provisory, impromptu monument, where the murder of George Floyd took place. There were flowers, graffiti, works of art; there was grief, and there was solidarity. Native American people clearly supported the plight of the African-Americans. The area was safe; it was well organized. People of all races came here to pay tribute to the murdered man, and centuries of atrocious history of the United States. As we drove, Robert Pilot explained: “Native American neighborhoods armed themselves after the Floyd murder. But not only that: economic hardships ensued after the murder; food banks have come up. The Pow Wow Grounds used to be a food distribution deport but ended up becoming a food bank for anyone to donate and get what they need. Protesters were everywhere; the young generation got fed up. So different from other murders. The last straw was the murder of George Floyd. Four years earlier, in 2016, Philando Castile, an African American man, got murdered by police. He had worked in a school cafeteria. His murder was broadcast live on Facebook. It was a buildup. 10,000 people protested on 38th Street and Chicago in Minneapolis – the site of the murder of George Floyd. Combination of racial and overall frustration.” We drove by burned stores, services, gas stations. Everything was resembling a war zone, and in a way, it was. If you are there, things are extremely raw, emotional. It is not like analyzing things from a distance from the comfort of one’s home. Robert continued explaining, as we drove by block after block of the Middle East-style combat destruction: “There is a small percentage of African American people as compared to White Americans. We need allies, too. We have to support each other. Signs everywhere in my neighborhood, ‘Black Lives Matter.’” “Some young white people have woken up. They see the truth. The opinion of the masses is moving to the left; they are feeling fed up with what is happening around them and what it is that the country is doing to the world because of oil. What is interesting is that there is a protest every single day, which is something new and mind-blowing. The media is misreporting, minimizing the enormity and magnitude of protests, CNN, MSNBC, etc.” Robert Pilot is not only a radio host, but he is also a teacher: “White teachers are still teaching history; they are teaching it to black and Native American kids! Political standing of my students – a few are engaged, but definitely not all. Perhaps 10 percent of people are engaged and doing the work for 90 percent. The white guilt now and then… But many of us feel: You should stand behind us and with us but not in front of us. Revolution is happening in that sense. Everything is changing since protests are happening.” Not everyone likes the changes; definitely not everyone. The establishment is fighting back, trying to survive, in its existing, horrid form. Robert Pilot concludes: “Generally, Black and Native Americans are together, supportive of each other. It is symbolic that the Native American movement started on Franklin Avenue, where protests began in 1968. We would never burn down our own stores like grocery stores and hospitals. Why should we? But we had to mobilize and stop members of the KKK and Proud Boys type of guys.” *** We drive some 100 miles north, in order to meet Ms. Emma Needham – a young Native American activist. Emma was kind enough to bring traditional medicine from her area. We met halfway at the Sand Prairie Wildlife Management Area. Before our encounter, along the highway, we are surrounded by true ‘Americana’: endless open spaces, half-empty highways, more than 100 car-long cargo train pulled by two monstrous engines, while pushed by yet another one. We pass by St. Cloud Correctional Facility – an ancient-looking prison that bears the resemblance of some massive medieval English mansion surrounded by an elaborate system of barbed wires and watchtowers. MI734854 In one of the towns along the road, there is a big makeshift market selling posters, T-shirts, and other memorabilia, all related to the current President. It is called Trump Shop. Big banners are shouting at passing cars: “Trump, Make America Great Again,” “Trump 2020 – No More Bullshit,” and “God, Guns & Guts Made America. Let’s Keep All Three”. Emma is a storyteller, a writer. She is an intelligent, outspoken, sincere, and passionate person: “Where we were, we did not see a lot of white men with masks attacking, but what we did see were two young white kids, around 16, from Wisconsin, looting a liquor store which was run by Native Americans.” “I stayed over Friday and Saturday nights around the Indian American Cultural Center in Minneapolis. On Friday night, within half a mile to a mile in all directors, we could see and hear the riots and looting. There were gunshots, helicopters hovering all around us. But nobody came to rescue us.” “On Saturday night, we could see white people on Jeeps, waving flags, cruising around the neighborhood. “The white kids from Wisconsin were there, it appeared to me, opportunistic grabbing whatever was available.” “Majority of those who came to protest and loot were outsiders, not from the neighborhoods. It does not make sense for people in Minneapolis to burn down and loot stores they rely on.” I wanted to know whether the Native Americans and African-Americans were helping each other in that difficult hour? Emma did not hesitate: “There was big solidarity between Black people and Native American people; there was empathy.” “It has been lifelong degradation for many of us growing up poor and severely marginalized in reservations, but we had never seen anything like this, so close to what resembled a war. Those of us who were down in North Minneapolis those nights – Friday and Saturday – could not find words to describe what was happening. But we had a strong sense that what has been happening to us, Native Americans was happening to Black Americans, too – 400 years of surviving in a system of oppression. Enough is enough! Shared horrors – same for both groups!” I asked whether everything changed, and this is a new beginning for the nation? As many, Emma did not sound overly optimistic: “A black American female artist once said, ‘I love my white friends, but I don’t trust you because I know when the time comes, you need to choose your skin color. You count on the freedom and safety which you have. Whether you make that conscious decision or not, it will be there for you.’” *** On my behalf, Robert Pilot asked Brett Buckner, his fellow radio host, and an African American activist, whether he could confirm that the majority of rioters were whites and not from the community. He replied: “I would say so. Based on police reports and accounts from the community members, most of the damage was done by outsiders. Unfortunately, their actions will cause our community pain for years and even decades to come.” *** Before I finished writing this report, “Umbrella man” got ‘identified.’ On July 29, 2020, Daily Mail wrote: “Masked “Umbrella Man” who was seen smashing windows of Minneapolis AutoZone that was later burned to the ground during George Floyd protests is identified as ‘Hells Angels gang member with ties to white supremacist group’… The Star Tribune reported the 32-year-old man has links to Aryan Cowboy Brotherhood, a white supremacist gang based in Minnesota and Kentucky.” He was one of many, but the most notorious one. Looking at his photos when in action, he was bearing a striking resemblance to ‘ninja’ looking rioters – right-wing hooligans – who were unleashed in order to bring chaos to Hong Kong, people who have been supported and financed by Western governments. I know, because I work in Hong Kong, since the beginning of the riots. Coincidence? And if not: who really ‘inspired’ whom? *** Before I left Minneapolis, Robert Pilot and his wife Wendy interviewed me on their Native Roots Radio. What was supposed to be just 30 minutes appearance ended up being a one-hour event. They showed me their city and their state, sharing sincere feelings and hopes, unveiling suffering of both African American and Native American communities. This time, I traveled to the United States in order to listen. But I was also asked to talk, and so I did. During the interview, I took them to several parts of the world, where black people still suffer enormously, due to Western imperialism and corporate greed. The world where Native people of Latin America, Canada, as well as other parts of the Planet, are brutally humiliated, robbed of everything, even murdered by millions. We were complimenting each other. Our knowledge was. I am glad I came to Minnesota. I am thankful that I could witness history in the making. I am also delighted that I observed solidarity between the African American and Native American people. For centuries, both went through hell, through agony. Now, they were awakening. Minnesota is where the latest and very important chapter of American history began. But I also went to Washington, D.C., Baltimore, New York City, Massachusetts. I witnessed protests, anger, despair. But there was also hope. Hope, despite tear gas and riot police, lockdowns, despite mismanaged COVID-19 and increasing poverty rates. Something was ending, something unsavory and brutal. Whether this could be considered a new beginning was still too early to tell. In Minnesota, I chose to see events through the eyes of Native Americans, people who were here ‘forever,’ to whom this land used to belong. People who were exterminated by the “new America,” by European migrants, in a genocide that claimed roughly 90% of the native lives. These were people who were robbed of their culture and their riches. I am glad; I am proud that I chose this angle. True peace, true reconciliation can only come after history as well as reality are fully understood, never through denial. Now, both African Americans and Native Americans are speaking, and the world is listening. It has to listen. At least this is already progress. These two groups are forming a powerful alliance of victims. But also, an alliance of those who are determined to make sure that history never repeats itself.

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moonsabr · 4 years

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Disney Fever Rant

Let’s be honest with ourselves, the Family Friendly Disney©️™️ Corporation became nothing but another soulless, creatively bankrupt, money hungry business that has a board full of greedy — potentially and allegedly (don’t sue me Disney) potentially criminally so — directors who, according to Abigail Disney allegedly underpay their employees, and only put in any sort “effort” (READ: spending half of their film’s marketing budget buying up opening night seats to make sure that every single one of their films makes $1 Billion dollars because God forbid Disney have a single flop), believed they didn’t need to market Galaxy’s Edge because Chief Executive Asshole Bob “I know we’re having a bad quarter & our PR is in the shitter but imma take a book tour for my autobiography real quick” Iger thought it would market itself (this is the same Disney CEO Bob Iger, by the way, who keeps raising prices because he’s so confident in the brand created, built, and embedded permanently within previous decades of Americana due to the hard work and creative genius of Walt Disney that he believes he can peddle out absolute garbage without consequence. CEO of Disney Lil’ Bitch Bobbie “My salary is 1,000x Greater Than the Average Disney Employees Even Though My Decisions Are Causing a Cutback in Hours and Even Getting People Laid Off” Iger really got his head up his ass because he believes he can say shit insanely out of touch and greedy shit like “[I can’t imagine] a maximum price guests will pay for a ticket to [our] theme parks” and keep hiking up the prices until one day, big surprise, this foolish, smug turd charged too much or didn’t market enough or maybe, people are just not blinded by the now-defunct and decades-long neglected Disney Magic™️ because the man in charge is more focused on a single-minded and extremely concerning-to-artistic-integrity-and-the-very-concepts-of-free-speech-and-fair-trade-and-anti-monopolistic fair business practices of purchasing every potentially lucrative IP known to man in a move so anti-competitive that they were forced by the fucking U.S. Justice Department to sell off some of their news properties — oh, but it’s okay, guys! The extremely hardworking and under-appreciated employees of Disney World will finally be making a baseline amount of $15/hour, so at least those hardworking folks can have the chance of affording a shared apartment less than 40 minutes away from the park! And hey, at least we’ll inevitably get a Summer Blockbuster X-Men trilogy, which I’m sure won’t be a bland and extremely superficial set of films more concerned with entertaining a general audience than preserving the heart of X-Men and why it was created and what it continues to symbolize. Good Ol’ Bobbie Buy-ger’s “Hello, Fellow Children” Disney will absolutely not make a mockery of the integrity with which those contemporaneously radical set of complex and volatile cultural and sociopolitical issues of the 1960′s were addressed via the humanization of both the protagonistic X-Men, who were peaceful advocates for the (then-primarily racially coded) mutants’ integration and equality within a society that is terrified and disgusted by them, in contrast with the slowly developing and unexpected depth of character and humanization of the members of the Brotherhood of Mutants, who are constantly portrayed as an antagonistic but not wholly evil foil to the X-Men as a much more violent group of radicals with a more extreme and militant approach to gaining mutant’s rights (coded heavily at the time, of course, as the Black Panther Movement) which fought for an apartheid with a zealous “Mutant’s First” slogan, believing themselves superior to humans without the X-Gene. And because of the appropriately addressed and carefully handled themes, mutants occasionally even switched sides because after all, they were all fighting for mutant rights. Baring in mind the intricacies and mature themes of X-Men and the MCU’s masterfully sophisticated and tactfully manifold take on sexism which can be succinctly summarized as “WOMAN GOOD; MAN BAD” (which strikes me as particularly unusual narrative composition to frame the villain, who has assaulted a stranger and stolen his property because he gave her a cheesy pickup line that wasn’t particularly sexual or intimidating, as the hero of the story — clearly, if the Disney MCU is willing to create such an experimental piece of avant-garde cinema verité wherein the reality of a cruel, spiteful, and sadistic person is constantly thrust into the spotlight and incessantly touted as a heroic figure is put on display. None of this would have been possible, however, without a courageously flawless and unconventional choice to hire Brie Larson via the application of typage casting, allowing Boden and Fleck to shine a b l a c k m i r r o r , if you will allow me to be so edgy and bold as to use such a trite phrase in this post Netflix world, on our own flawed society, they will be capable of producing a mere three trivial films on something so relatively simplistic as translating the extremely volatile and divided zeitgeist of race relations in the height of the civil rights movement into a modern, appropriate, and respectful piece of representative fiction.

I’m sure Disney CEO Bob “Galaxy’s Edge Only Severely Underperformed Because People Were Worried There Would Be Too Many People There and This Has Nothing to Do With the Fact that I Thought My Dick Was Bigger Than It Actually Is and So I Thought I Could Get Away Without Marketing it Whatsoever Until Like 3 Months Before it Opened in Disneyland Because I Realized (but will never, ever admit) that I Fucked Up After they Low Crowds in Disney World and Over-Estimated the Current Value Of the Star Wars Brand After Green-Lighting A Film Wherein All the Original Characters Left Were Bastardized and Shat On So Now Everyone Who Wants to Watch TV Will Have A 35% Chance of Being Assaulted By Our Incessant Ads for this Bullshit Because I Bought a Bunch of Shit with No Creative Vision in Mind and Am So Incompetent and Think So Lowly of My Own Customer Base that I Signed Off on a Plan for This Park that Didn’t Include Most of the ‘Immersive Experience’ as Advertised Because I Truly Believe Most Consumers are So Stupid That They Will not Notice or Care that They’ve Paid ~$400-$500 per Person to Get Access to a Glorified Shopping Mall with Extremely Overpriced Toys that You Can’t Even Use within Park Grounds” Iger will make sure these concepts are addressed via internal, philosophical dilemmas such as “What level of respect do we owe to our oppressors?” and “How much humanity should we offer to those who don’t offer us the same courtesy in return?” that were written and drawn by a couple of Jewish WWII-Veterans who had fought violently on enemy soil for their right to live and be seen as human and were, twenty years later, observing an uprising against a disturbingly similar “Separate but Equal” system that was reminiscent of the insidious and dehumanizing relegation of German Jewish communities into ghettos implemented early during the Nazi regime. I’m just feeling so fucking positive about this Fox acquisition guys, because I’m just so sure somebody whose very goal is to buy up all his competition and suppress even the most constructive of criticism is truly concerned about honestly and properly representing a title with so many counter-cultural and anti-establishmentarian ideals that aren’t already commonly accepted in today’s political climate, right? At least we get the X-Men in the MCU, right gamers?!?!?!?!!!!!!

Regardless of how you feel about Disney, you can’t deny that the company’s board atm is entirely creatively bankrupt and out of touch. For god’s sake, they created a hyper-realistic CGI remake of The Lion King that perfectly represents the state of the Disney Corporation today: bland, boring, forgettable, and completely lacking in any sort of creative vision.

#i wrote this after being awake for 20 hours with a 100.1 degree fever #i have not edited it such that you too may enjoy its insane ramblings #lets be honest #bob iger is dead and i killed him #idk how to even tag this #marv*l #mcpoo #i actually dont hate the mcu #just disney #d*sney #bob i pooped my pants iger #bitch iger #fever rant #not art #not writing #sabr rants #sick sabr rants #the official roast of bob iger #unedited for your viewing pleasure/horror

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incarnateirony · 4 years

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Hello! I'm still adjusting to reading Dean+Cas as canon and reconciling that with years' worth of believing it to be subtext. Would you be able to point me towards anything that might help?

Yes actually! I’m half awake right now and only have about an hour to get ready, but a few things to do is check my “Bobo berens” tag to understand the merit of angle and intent, my LGBTQIA tag for media history, and most of all in what’s available on my blog, read this post (x) which links to resources about things like… IDK, the Media Literacy Clearing House on what counts as Text in AV medium (fandom’s buried that for a long time) – and other stuff like highlighting other pairings, queer and straight, that have been accepted as text and canon without janky shipwarring afoot and similar-but-less content.

And fuckit, I’ma be totally blunt. In this effort to give everybody sandboxes to play in, and treat everyone’s interpretations eQuaLlY and all that, we’ve built a pit. It’s a pit where people only address part of the body of text, and on any given blog, they’ll tell you different things do and don’t count as text, or call those parts subtext but focus on one part of it and not the other (eg, elements of the central visual narrative), because focusing on only part of it allows them to draw whatever conclusions they want. And I’ma be honest. It’s a pit early DeanCas fandom set up to GIVE themselves room to chase weird stuff and establish bases while it was incomplete, but now that we’ve moved forward into a whole other era, that pit is DeanCas’ fandom’s cage.

I’m working on a project for JUST THIS, and right now my drafts bin be lookin’ like

But more important than those general points,

So that said, browse the given posts I linked above and blog, and hang tight. If you wanna climb in to the thing I’m building, feel free to DM me now, even if it’ll be some days before it’s ready. It’s gonna come in a few waves, teaching key elements – many of which I think you guys subconsciously know? You just like, don’t know the names or technicalities of? – and reaching into slightly more complicated territory as it goes along – with general images NOT from this fandom/show. That way people don’t attach their emotional lens to it to start their process. And, once we DO clear the A-Level course, then we’ll go back through with actual show material and I’ll get a little more stringent with submissions since by then everybody should be up to the same page, and we’ll have some yes or no talks about answers and making sure people are reading the whole body of text.

A major point in the “full body of text” thing that will come up in these posts is,

Representations

Audiences

Institutions

Language

Ideology

Narrative

Genre

Which is something that has been… missed. For a very long time. 99% of bullshit spec/people tilting people’s reads, in the history of ever, treat the show like it’s secretly been spending upwards of a decade or more representing a queer audience under lgbt instutions through queer language for queer ideology and a queer narrative like they’re gonna hide bisexuality cues in wallpaper or whatever, and like that’s what they’re gonna hide. You all know I see and respect canon, but loudly divorce myself from many of the lanes here. Let’s be real. The show STARTED representing for a dudebro audience in grifter americana under a conservative institution with often outright queerphobic language and a nihilistic ideology and narrative in horror genre.

Whereas modern SPN has quite tangibly shifted into more diverse representations for an increasingly queer audience, while STILL under more conservative institutions with an increasing vat of queer language that isn’t the central ideology – wherein the ideology is a mix of humanism and hermeticism which overlap into the narrative we know in a genre that has abandoned old horror roots into fantasy, both in its acted elements and insofar as its methods of filming and other editorial work.

All of this BUT ITS ALL INTERPRETATION AND SHIT vanishes once people really give you the Key Concepts.

For more about this, hang tight, I wanna get this more pulled together. People are free to explore the source material HERE (X) at their own pace, I just wanted to sort of break it down into smaller pieces to tackle and being interactive so it felt less like you were dragging yourself through a damn self-assigned school course alone at your computer and more like an interactive adventure for people to realize, yes! You DO actually get a lot of this, and a lot of the things you DON’T get were clouded and crowded into your head later.

So like… browse that, or stay tuned and DM me, I’d love to help, because I’m done watching people warp shit around and mess up people’s viewing experiences.

Institutions, on that list, is one I bang on about a lot.

OWNERSHIP Ways in which ownership of a media institution can affect or influence the content and distribution of its media texts.MARKETING The way institutions can affect the marketing of media texts.AUDIENCES The significance of media ownership to the way audiences receive texts.TECHNOLOGY The importance of new technologies on media ownership and audiences.PUBLIC SERVICE The cultural and financial differences between public service institutions and commercial institutions.REGULATION the regulation of media institutions.

I don’t have a secret meta key. My plot magic 8 ball can’t give me the winning lottery ticket. I just understand RAILING, and I’m kicking myself for not thinking to just arm people with this directly instead of trying to bang on about the parts of it time and again for years within the show, rather than how it applies in the text study universe abroad. Even all the hermeticism shit I bang on about? Just falls into Ideology and Narrative. It’s only a piece of how to read the puzzle. You can’t straight run just lean on Narrative and hope it’ll count. Gotta pay attention to the rest.

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davidmann95 · 5 years

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So, Superman, Action Comics, Justice League, Superman: Up, Up, and Away, and other titles... how do you feel about Superman's place right now?

Comics-wise? Superman’s in an incredibly positive place right now! Action Comics is generally being regarded as a really solid book. Superman: Up Up and Away is largely I think going to achieve deserved perennial status even with the one truly bad chapter weighing it down that’ll be reprinted in #3. He just had an absolutely phenomenal showing in Justice League in that book’s best arc since the Morrison years with The Sixth Dimension!, with by all appearances more quality Superman content to come from that corner. And while even as the official Bendis Superman liker I’m ready for the Unity Saga to be done in Superman proper, I’m still enjoying it and I’m incredibly excited by the descriptions of upcoming stories suggesting it’ll tap back into the promise of the first issue by dealing with the likes of (rot13) na rivy Ybvf Ynar pbzznaqrrevat gur Sbegerff, gur Yrtvba neevivat gb erpehvg Wba, naq Fhcrezna'f arj wbo qrfpevcgvba bs Cerfvqrag bs Rnegu. Fuck, I’m even one of the two weirdoes who thought Superman: Year One’s first issue had worthwhile elements. Throw on Lois Lane and Superman’s Pal, Jimmy Olsen, from what I understand Supergirl being merely forgettable rather than actively bad at the moment, a AAA Legion of Superheroes relaunch on the horizon with at least one major connection back to him, and Superman serving as the spiritual linchpin of the Wonder Comics line, and this is the best his lineup has been since the mid-00s, if not in fact in decades.

That all being said:

Anonymous said: Will Superman ever truly escape the shadow of the Jurgens mediocrity and the latest Tomasi mediocrity (with a renewed dose of Jurgens) in the long term? Or are we doomed to more Doomsdays and dull text lacking ambition, imagination and execution, which keeps reasserting itself in the place where greater texts (read Morrison Action, or Maggin in general) oughta be?

Truthfully, much as I rag on the both of them, they’re symptoms rather than the issues themselves. It’s from an editorially-enforced popular conception of Superman - one most easily traced back to John Byrne and the Donner movies, but its roots are in his vague public image period - as fundamentally a simple character inhabiting a simple world, whether that’s considered his charm, his damnation, or the simplest way of dealing with him on the part of those who don’t really give a shit. And damn it, it’s successful up to a point, and it’s safe. Which makes it potentially more corrosive to his image in the long-term than even the try-hard faux-deep darkening of his world, since that tends to receive immediate, severe backlash.

Bendis has his Bendis-isms I know rankle people, same goes for King, but ultimately they’re writing fairly classical takes on Clark himself. The scope of the backlash beyond the very fact of their names I think comes down to that there’s flavor and there’s risk to what’s being done with Superman at the moment, that it’s about stuff other than how great he is and how great he makes us feel, and a whole lot of people find that antithetical to his whole deal or at the very least a warning sign of doom to come. In a post-Snyder world folks are wary and looking for the next incoming blow, but even that aside there’s a whole lot of people who think this is all there is to Superman…

…and plenty believe that’s exactly how it should be.

(Fuck I hate that page, all the failings of What’s So Funny About Truth, Justice, and the American Way? and Secret Origin amplified and condensed into a single moment of square-jawed, smirking, condescending ‘wholesome’ small-c conservative Americana lecturing us cynical modern city folks on how you just gotta be nicer and love the problems away - I suppose it’s actually perfect Manchester Black is the final villain of the run and that arc specifically.)

Add that a lot of the best creators such as Maggin, Busiek, Waid, and Ennis are either thoroughly in the rear-view mirror or have scattered/sporadic/relatively little work with him, or both, and that Morrison’s Action was swept up in the same issues as the above? And that the last Superman story smacking of rocking the boat that still went on to generally widespread acceptance and acclaim in American Alien almost immediately became one we by and large Do Not Talk About Anymore because of, y’know, all that stuff? While meanwhile the very fact of the simple takes on Superman being simple means they’re easy to repackage? I actually don’t think the Rebirth years will have much staying power outside a devoted few given they’re roped pretty heavily into continuity shenanigans, but Death of Superman is sticking around forever.

The boring, impossibly difficult solution is “do really good stuff with Superman for decades until that becomes the predominant image of him”. Somewhat more practically even if it’s still by no means simple, what the dude really needs - much as I’m enjoying the current status quo and will take it for as long as I can get it given the general alternatives - is something akin to a Ewing and Bennett on Hulk, or Hickman and company on X-Men. An impossible-to-overlook new injection of vitality into the title/s by creators with both the skill and fandom clout to get away with that sort of thing and be widely embraced for it, who can do something Big and New and Exciting that without twisting away from what it’s always been about at heart show it’s more than worth taking the leap towards something more nuanced and energetic and bolder. Not that that would stop plenty of crap Superman comics being made, comics even that would actively, consciously work to undo whatever such a run brought to the table to return it to the glory years of Jurgens and Tomasi. But it would make the sort of impression that means that eventually someone would be dedicated to recapturing those ideas and that spirit, in the same way that no matter how many crap comics Daredevil or Batman might get in a row there’s an understanding now that they simply won’t be permitted to go too long without a major fan-favorite run under their belts. Not a perfect solution, but we don’t live in a perfect world.

#Superman #Opinion

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nyxelestia · 4 years

Link

I’ve talked a ton about what fandom spaces look like when Black woman steps into a racebent role, but not about what happens to Black men who play racebent roles in the same franchises.

If you think that things are any easier for Black men in fandom well…

You’ve thought wrong.

This installment of What Fandom Racism Looks Like will look at how the racism behind how the Smallville fandom treated Pete Ross – played by Sam Jones III – and how, over a decade later, the Supergirl fandom pulls from the same playbook in order to excuse heaping a ton of racism on James Olsen and the black actor that plays him, Mehcad Brooks.

It is a fact of fandom that Black characters of any gender are treated poorly in comparison to non-Black characters. When you take gender into consideration, misogynoir leaps out and the anti-black and anti-woman violence leaps out, but that doesn’t mean that Black men have ever been beloved in fandom.

Some Black men/male characters are liked a little bit more than Black women in similar shows or properties, but can you actually name one that is treated on the same level as a white male character or performer?

Can you name one that’s actually beloved?

We’re now in my fifth year of running Stitch’s Media Mix and one constant that I’ve talked about is the way that the Star Wars fandom maligns, dismisses, and makes weird shit up about Finn and his actor John Boyega.

Folks across various fandom spaces don’t limit their ire just to Finn’s existence and creating fanworks (fiction, art, and meta fandom analysis) that turn him into a villain or kill him off so that Kylo Ren could succeed as the “real” hero of the franchise.

No.

I’m talking about folks deciding Boyega has to be homophobic because he’s Nigerian-British and because his father is prominent in their church and things like the time folks flooded his mentions calling him a misogynist and sexist and even @-ing Lucasfilm/Disney over a video of him dancing during carnival.

What Finn and John Boyega go have been going through since in 2015 is what Mehcad Brooks and James Olsen go through in 2019.

It’s an updated version of what Sam Jones III and Pete Ross went through a decade ago.

Looking back now, it’s obvious that the Smallville fandom was predictable in the same ways that many other superhero fandoms are now.

The most popular ship for the fandom was between two white male characters – Lex Luthor and Clark Kent – frenemies for life.

It’s a fandom that often treated white female characters and characters of color as obstacles in the way of the main slash relationship – instead of like Lex Luthor’s everything. It’s a ship with a fanbase that pretty much cut out or ignored the relationships either white male character had with white women or people of color in order to portray their relationship as the most important one across the series.

With that much predictability, it’s not that difficult to look back at fanworks from when the Smallville fandom was at its highest and draw connections between what fandom did over a decade ago and what it continues to do now.

Pete Ross wasn’t the first sidekick or friend in a superhero drama to be racebent.

In Smallville alone, biracial Chinese-American Kristen Kreuk was cast to play a racebent version of Clark Kent’s teenaged sweetheart Lana Lang. (And Dean Cain’s Clark Kent on The Adventures of Clark Kent and Lois Lane in the early Nineties was visibly not white.)

However, the fandom’s response to this newly Black Pete Ross was… different.

When folks in fandom deigned to write him, they wrote him as a shucking and jiving stereotype, an approximation of what they think Black men were like In 2002.

Back then, longtime fan writer teland aired one hell of a grievance about the way that folks in the Smallville fandom insisted on writing Pete Ross when the series first aired, writing that:

If I *never* see another story where Pete fucking ROSS goes around speaking stereotypical JIVE again it will be too soon. What the fuck is *wrong* with you people? Do you *watch* the show? Has Pete *ever* been anything but a normal smartass teenaged boy with a crush on Chloe and a lust for every other woman his eyes have lit upon? Has he *ever* expressed an interest in the poetry of Amiri Baraka? Does he cruise the streets of Smallville in his low-rider and do drive-bys with his do-rag arranged in Criply perfection?

No?

Then why the *fuck* do you write him that way, numbnuts?

This fannish insistence on writing Pete Ross as hella hood despite the fact that there are next to no other Black people in Smallville – much less a “hood” of any kind – was one of the ways that the Smallville fandom made it very clear that they didn’t actually see Pete Ross as a character. He was a bad blank slate, one that they could overlay not with the nuanced characterization that white blank slates got –

But with stereotypes about Blackness.

There is no “hood” in Smallville, Kansas.

Outside of a few racebent characters, the small country town is pretty darn white. There are several episodes of Smallville where Pete is the only character of color with dialogue. He’s frequently the ONLY black character on-screen and his dialogue and motivations aren’t exactly hard to parse –

So why was fandom’s “go to” for Pete Ross a hella hood version that dropped slang and exhibited a frankly offensive stereotype of Black existence that didn’t even apply to him?

Simply put?

The Smallville fandom, like many fandoms when faced with having to interact with or write a Black character for the first time in ages, gravitated towards what they knew from their limited interactions with Blackness and Black people. Their biases shone through because it was, for them, the only way they knew how to conceptualize Black people.

(You can see this replicated in more modern fandom with how the MCU fandom tries to turn Sam Wilson into a hard hood stereotype in fanworks or that one horrible headcanon where Miles shoplifted to get art supplies – despite his solidly middle-class existence and strong views of right and wrong.)

If you know nothing about Black people outside of what like… Fox News and your elderly grandparents in the Midwest tell you about Black people and have no interest in seeing us AS PEOPLE or doing the work to unbuild those biases, your fanworks that reference or even center Black characters will hold those beliefs.

Pete Ross was on Smallville for three seasons. In those three seasons, the fandom pretty much decided that he was set up to sit in one of two roles. Either he’d be a supportive sidekick to Clark and company, or he’d be a villain. And either way, when they wrote him, they often gravitated to writing him as a hood stereotype.

Again, there are next to no other Black people in Smallville on the seasons Pete Ross is one of Clark’s closest friends.

Smallville is a picture of white Americana right down to how the show and town takes a Highlander-esque approach to diversity where only a few characters of color are even allowed to inhabit the same space at any given time.

Unlike many of the other Black male characters that set fandoms afire with their ire, Pete Ross wasn’t a threat to established ships or character arcs. He was gone before he really had a chance to shine, written off and moved out of town as other characters took his spot at Clark’s right hand.

What happens when a Black male character is in the way of one ship or poses a threat to another?

Well, for the answer to that, we need to fast forward over a decade to the Supergirl fandom and how it treats Mehcad Brooks and his character on the show, James Olsen. From the start, racebending Clark Kent’s most famous sidekick didn’t go well. His casting was met with frustration from all corners of fandom from folks that hated that he was a) Black and b) potentially in a relationship with Kara.

Then season two on The CW happened and the fandom kind of… started mutating in the worst way.

Certain parts of the Supergirl fandom will have you believing that James Olsen is the worst character on the show and that Mehcad is the most problematic person to ever work on a CW show.

They cite Mehcad’s (admittedly offensive) Instagram username, his championing Lena/James as a ship on instagram using a hashtag commonly associated with LGBTQ people, and a comment about how his girlfriend at the time told him that he’s “a lesbian trapped in a football player’s body” made to a trans reporter.

None of those things are great, let’s be very real here.

I don’t actually like or support a lot of how Mehcad Brooks carries himself. I don’t need to like him in order to be very aware of how he’s treated by the fandom from even before he was deemed Problematic.

One of the things I’ve been hyperaware of in fandom is how celebrities and fans of color are shunned for problematic thoughts and behavior in a more… permanent way. There are non-Black CW stars who are problematic – some of them are even on Supergirl – and who’ve presented themselves in ways that aren’t great.

But for the most part, they don’t have people calling for them to be fired or for their character to be killed off.

They don’t have folks pretending to care about marginalized people to cloak their anti-Blackness.

Which is one of my biggest issues with the way that Black male characters are treated in fandom spaces: the way that folks use social justice rhetoric and a vague “desire for representation” to excuse unsubtle racism towards these male characters and their performers.

I know we covered that folks performing wokeness is in the minority of Things That Happen In Fandom, but let’s be clear: this is one occasion where it’s frequent and obvious.

One of the ways that Black characters and performers are subject to racism from fandom is in the way that non-Black fans will reframe them as “too problematic to support” (which therefore allows them to be dehumanized by the fandom that dislikes them). If folks in fandom can claim that they really don’t like a Black character because they need to protect marginalized (white) fans from their existence, then they can’t be called racist.

Because they’re doing it for (white) queer people.

Or (white) women.

But it’s terribly transparent.

After all:

Someone celebrating (with champagne and all) that James Olsen has been shot and that Lex Luthor called him a dog does not actually give a shit about representation for people of color.

Someone fretfully worrying that John Boyega, thanks to his father’s role in their church, is a homophobe that doesn’t actually want Finn/Poe to be canon, doesn’t actually care about queer people.

Someone positing that a Black male character is actually harmful for a non-Black character – and that’s why the fandom has to distrust and dislike them – doesn’t actually care about Black people.

And if you’re out here championing a non-canon (fem)slash ship because #RepresentationMatters at the same time that you’re out here actively wishing evil on a Black performer and hoping that their character gets killed off… you can’t possibly care that much about representation for anyone but white queer people.

It continues to boggle my mind how non-Black fans seem incapable of understanding that we can see their tweets and tumblr posts. They seem incapable of understanding that we know the script as well as they do because we’ve seen them use it across the years of fandom and that we see it put into play, we’re not going to fall for it.

Hell, we’re going to call that crap out.

Pete Ross wasn’t the first Black male character to be mistreated by a white fandom. We’ve got years of evidence of Black male characters being rewritten and misrepresented and torn down in order to lift up non-Black ones. Name me a Black male character in a franchise or fandom and I’ll probably be able to tell you at least two ways that fandom mistreats them.

As we can see with James Olsen, the disgusting way folks in fandom treat and talk about Black male characters and performers. is just going to continue until non-Black fans step up and throw away the script they’re adhering to so hard.

#star wars #john boyega #fandom racism #fandomshatepeopleofcolor #fandom meta #on fandom

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