A Giorgio Moroder story: apropos of his appearance on a certain new album — a few years ago on ILX, someone named Tilman posted saying he’d been doing research into “I Feel Love“‘s production, saying he was “particularily interested in the delay effect that he uses to “double” the synth riff, and the other means with which he creates “metrical dissonances”, e.g. the echo effects.” He indicated that he’d contacted Moroder directly about this. Moroder replied with this graphic, adding:
“Dear Mr. Tilman
this is the only way i can help you
This is the greatest thing ever, of course. Credit to my friend Grady for the reminder.
WATERSHED is a zine about falling in love with music, about those moments when you heard/saw music that shifted your perspective, when you became a fan of a certain band or artist, when you realized you were in it for life. It will feature short pieces by a range of people (many of whom are musicians ourselves) talking about the first time we heard that record, that show that was particularly memorable, that artist that opened up a world for us. It’ll also contain a couple of interviews!
You have until May 31, 2013 to submit for the first issue.
Submissions should go to: firstname.lastname@example.org
Friendly reminder that you have ten days left to submit to WATERSHED, my zine about being in love with music.
friendly reminder that telling a fat person that they are in fact, not “actually” fat is not okay, even (especially) if you mean it as a compliment. you are not complimenting this person - you are erasing their experiences and invalidating their body.
As a “small fat” (someone who can do most of their shopping in straight size stores) I get a lot of this (note: we “small fats” must always remain conscious of our privilege in regards to not taking up too much space/time/conversation in fat spaces) from people skinnier than I. Not only is it an erasure of experience/legitimacy but it just says ‘Hey, fat is bad/ugly, you’re not that!’ Reaffirms fucked-up hierarchies. Who needs that?
And I am fat and it’s cool. So.
Closer to Freedom: Enslaved Women and Everyday Resistance in the Plantation South (Gender and American Culture) by Stephanie M. H. Camp
Recent scholarship on slavery has explored the lives of enslaved people beyond the watchful eye of their masters. Building on this work and the study of space, social relations, gender, and power in the Old South, Stephanie Camp examines the everyday containment and movement of enslaved men and, especially, enslaved women. In her investigation of the movement of bodies, objects, and information, Camp extends our recognition of slave resistance into new arenas and reveals an important and hidden culture of opposition.
Camp discusses the multiple dimensions to acts of resistance that might otherwise appear to be little more than fits of temper. She brings new depth to our understanding of the lives of enslaved women, whose bodies and homes were inevitably political arenas. Through Camp’s insight, truancy becomes an act of pursuing personal privacy. Illegal parties (“frolics”) become an expression of bodily freedom. And bondwomen who acquired printed abolitionist materials and posted them on the walls of their slave cabins (even if they could not read them) become the subtle agitators who inspire more overt acts.
The culture of opposition created by enslaved women’s acts of everyday resistance helped foment and sustain the more visible resistance of men in their individual acts of running away and in the collective action of slave revolts. Ultimately, Camp argues, the Civil War years saw revolutionary change that had been in the making for decades.