When Madonna came out with her hit Vogue you knew it was over. She had taken a very specifically queer, transgendered, Latino and African-American phenomenon and totally erased that context with her lyrics, “It makes no difference if you’re black or white, if you’re a boy or girl.” Madonna was taking in tons of money, while the Queen who actually taught her how to Vogue sat before me in the club, strung out, depressed and broke. So if anybody requested Vogue or any other Madonna track, I told them, “No, this is a Madonna free zone! And as long as I’m DJ-ing you will not be allowed to Vogue to the decontextualized, reified, corporatized, liberalized, neutralized, asexualized, re-genderized, pop reflection of this dancefloor’s reality!
- DJ Sprinkles, from Midtown 120 Blues, 2008
Cheers seki-gahara and afutureancient.
(via holyfuckmeinthemouth)
We have deluded ourselves into believing the myth that capitalism grew and prospered out of the Protestant ethic of hard work and sacrifices. Capitalism was built on the exploitation of black slaves and continues to thrive on the exploitation of the poor, both black and white, both here and abroad.
One of my biggest regrets is not keeping a record of all the books I read when I was younger because I’ll never know the true number of books I’ve read and I’ll never remember the books that shaped my into the person I am today
““The first thing that struck me was how faithful it manages to be to Fingersmith even though it’s in Korean and Japanese and set in a different period,” says Waters. “I was very interested in the texture of Victorian life, and the power dynamics were played out in a material way, and I think he’s brought a similar interest in artefacts and fabrics. It’s such a crowdedly lush film, with all those shoes and gloves and corsets.” It is atmospherically set in a mansion which is part western gothic, part Japanese, with rooms divided by sliding paper doors through which the unscrupulous can snoop on the unwary. Like the castles of classic gothic literature, both novel and film create spaces in which the normal order can be subverted. “Those buildings with rooms after rooms after rooms are psychic structures,” Waters observes. “They echo social structures: public or semi-public spaces, then private, then secret spaces.””
— Sarah Waters on The Handmaiden, the film adaptation of her 2002 novel Fingersmith. (via planetaire)
i keep trying to memorize every detail of the moments i live in. in the soreness of my legs from standing so long at a concert, the chill of the night, the patterns of a tablecloth, the oily texture in my mouth after eating fried bananas. i keep trying to memorize the feelings, the quiet contentedness, the laughter, the excitement. i keep trying to memorize the people, their smiles, the way they speak, what makes them laugh. i’m constantly on the cusp of the next part of my life and that’s just so.. strange. but it makes it so much easier to find happiness no matter what’s happening to me, in a way? because i’m already kind of looking at life with those rose-colored glasses of nostalgia, simply because i know these are times i’ll never be able to live again, and these are people i might not always have, and that makes it so much easier to appreciate everything i might miss later.
recipe blogs are so exhausting. please dont say words at me just let me make my food in peace
The feminine texture of ravioli
gender: ravioli
PSA: please don’t fuck your ravioli
Around age twenty-five, I had the blunt experience of looking at my bookshelves and noticing that my bookshelves were filled almost exclusively with books by men. Which was fine, I wasn’t going to get in a rage about it, I loved those books that I had read. But I was unsettled, since my bookshelves meant either there were no good books by women, or I had somehow read in such a way as to avoid them all.
