#Remixable - Founder Edition

[kristy7788]

Remixable V3 is a versatile software platform designed to help users create, customize, and launch professional-quality websites and online marketing campaigns without any coding skills. It offers a wide range of templates, design tools, and features that enable users to build everything from e-commerce sites to affiliate marketing pages. With its user-friendly interface and drag-and-drop functionality, Remixable V3 aims to streamline the process of developing online businesses and enhance digital marketing efforts.

[discoindahouse]

LET’S DROP TA BEAT!

Decided ta update our pinned. Team Disco is a team dedicated to gettin’ rid of da radio edits forced upon us by society. Things are ‘bout to get remixed here, and ya better like it!

Right, introductions.

I’m “The DJ”, but just “DJ” is fine. I’m da main mod for “discoindahouse”, as well as da founder and leader of Team Disco. I’ve been tryina post our music for awhile now, but nobody’s been able to feel the grove yet. (DJ uses he/him! just didn’t think to say so, LOL!)

OH MY TURN! HEY HEY ROTUMBLR!!!!!! ICYMI, i was chosen instead of our techie (love ya tho, techie!!!) to co-run this joint!! hoping i can share the same vibes as The DJ!! BTW, i’m the current head songwriter for team disco, as well as doing vocals!! i joined around a few months ago, so if ya’d rather have the POV of a newbie, i’m ya gal! you can call me mod rush, i use she/her! i’ll be using pink text, so you’ll know on a glance it ain’t DJ!

Askbox is always open, as well as team openings. We’re always interested in new members, yo.

DJ’S TEAM:

Whirl the Honchkrow, Stomp the Loudred, Wasabi the Dravovish, L3 the Hypno, King the Obstagoon, and Showdown the Revavroom

RUSH’S TEAM:

Blush the Galarian Rapidash, Nev the Ditto, Nostal the Galarian Linoone, Citlor the Shiny Golurk, Memstar the Tinkaton, Spice+Spiced+Spicy the Falinks

ooc/mod talk:

this is an evil team blog! so themes of manipulation, propaganda, stuff like that. if you don’t wanna look at an evil team doing evil things, feel free to click off (or even block! curate your experiences haha)

this blog exists in the same universe as @quagsireoutpost

all variants of pelipper mail are on, including unmail and dreams. m!as are very loosely on but may be turned off in the future. mean anons and such are allowed, and are encouraged as disco is an evil team!

eebies, fallers, sentient pokémon etc r okay for interaction!

here to have fun and party >:3

[kolajmag]

COLLAGE ON VIEW

Souvenir

Cut Me Up at the Concourse A Gallery at Albany International Airport in New York through 27 December 2023. “Souvenir” was conceived and curated by Albany Airport Art & Culture Program Director Kathy Greenwood upon an invitation from Cut Me Up’s Andrea Burgay. The exhibition includes the eighteen artists selected for the print edition of Issue 11, as well as six additional artists from the call’s pool of submissions. In the spirit of offering a more expansive view of souvenirs, this exhibition also includes some specially invited guests. The artists Katharine Umsted and Cut Me Up’s founder, Andrea Burgay, both independently created a series of works based upon postcards that they called “Wish You Were Here”. MORE

*****************************

Kolaj Magazine, a full color, print magazine, exists to show how the world of collage is rich, layered, and thick with complexity. By remixing history and culture, collage artists forge new thinking. To understand collage is to reshape one's thinking of art history and redefine the canon of visual culture that informs the present.

SUBSCRIBE | CURRENT ISSUE | GET A COPY

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[jcmarchi]

Cover Reveal – The Casting Of Frank Stone

New Post has been published on https://thedigitalinsider.com/cover-reveal-the-casting-of-frank-stone/

Cover Reveal – The Casting Of Frank Stone

Dead by Daylight (DBD) has been one of the most popular multiplayer games (and horror titles in general) since its launch in 2016, but fans have dreamed of experiencing its universe in a single-player format. Developer Behaviour Interactive agreed and enlisted the cinematic storytelling expertise of Supermassive Games (Until Dawn, The Dark Pictures Anthology, The Quarry) to create an original story in the DBD universe. That game became The Casting of Frank Stone, and it terrorizes Game Informer’s cover this month.

We traveled to Behaviour’s studio in Montreal, Quebec, Canada, to play an early slice of the game and speak to lead developers from both studios to learn how the collaboration came to be. The story also reveals some of the DBD-style mechanics remixing Supermassive’s traditional gameplay template and also provides exclusive details on the game’s filmmaking mechanic.

Check out the cover art below, which was executed by Behavior’s senior concept artist Maïlys Garcia. 

In addition to the cover story, issue #368 also features a six-page Dead by Daylight retrospective. Writer Alex Van Aken interviewed two of the game’s principal creators to learn the history of the DBD’s development and its future, including exclusive details of its upcoming Castlevania crossover.

But wait, there’s more! Contributor Pao Yumol spoke to the creator of Vampire Survivors to learn the story behind the game’s creation and its surprising success. Editor Charles Harte wrote a six-page preview for Visions of Mana, including insights from its principal creators. With Devolver Digital celebrating its 15th anniversary this year, Brian Shea spoke to its founders to learn how the company grew from a small renegade startup to an indie publishing behemoth. The issue also includes previews for upcoming titles such as Lego Horizon Adventures, Metroid Prime 4: Beyond, The Legend of Zelda: Echoes of Wisdom, Persona 3 Reload’s Episode Aigis – The Answer, and more!

Not a print subscriber yet but want this issue? Well, you’re in luck! Subscribing today – or within the next few days – will net you a print copy of this issue! You can join the ranks of the Game Informer print subscribers through our new standalone print subscription! Just head here to sign up for either one or two years at a fraction of the cost of buying the issues individually! You can even gift a print subscription to your favorite gamer!

SUBSCRIBE TO THE PRINT MAGAZINE

You can also try to nab a Game Informer Gold version of the issue. Limited to a numbered print run per issue, this premium version of Game Informer isn’t available for sale. To learn about places where you might be able to get a copy, check out our official Twitter, Facebook, TikTok, Instagram, BlueSky, and Threads accounts and stay tuned for more details in the coming weeks. Click here to read more about Game Informer Gold.

Print subscribers can expect their issues to arrive in the coming weeks. The digital edition launches later this afternoon for PC/Mac, iOS, and Google Play. Individual print copies will be available for purchase in the coming weeks at GameStop.

[chanskv]

Boost Your Business with Remixable – The Ultimate Founder Edition Software

[star9898]

What is Remixable?

Remixable is a modular software creation platform. Instead of coding everything from scratch, you can drag-and-drop pre-built components (called "remixes") to assemble your software. These remixes can be anything from basic UI elements to complex functionalities. Remixable also boasts a strong focus on collaboration, allowing teams to work together seamlessly and share their creations with the wider community.

Founder Edition Features:

Modular Design: Remixable's core strength. Build software faster and easier with drag-and-drop components.

Collaboration Features: Real-time collaboration and easy remix sharing foster teamwork and innovation.

Open-Source Friendly: The platform embraces open-source principles, allowing you to leverage the work of others and contribute your own creations.

Advanced Features for Professionals: The Founder Edition includes features like version control for professional developers and teams.

Who Should Use Remixable?

Remixable is a great fit for:

Entrepreneurs and startups: Quickly prototype and iterate on software ideas without needing a large coding team.

Software developers: Boost productivity with pre-built components and streamline collaboration.

Designers and creatives: Remixable's intuitive interface makes it easy to bring your design visions to life.

Is Remixable Right for You?

Remixable is a powerful and innovative platform that can change how you develop software. If you're looking for a way to work faster, smarter, and more collaboratively, then Remixable is definitely worth checking out. However, it's important to note that Remixable is a relatively new platform, and the library of available remixes might not be as extensive as some established development tools.

Overall, Remixable - Founder Edition is a promising new player in the software development space. Its unique modular approach and emphasis on collaboration have the potential to disrupt the industry. Whether Remixable lives up to its full potential remains to be seen, but it's certainly a platform to keep an eye on.

[e4ejaz]

Remixable - Founder Edition Digital - Software

Remixable - Founder Edition appears to be a software program focused on creative endeavors in the digital space. Here's what I can tell you based on my search results:

Core Functionality: It seems to be designed for remixing, recreating, and reimagining various digital content. This could include things like graphic design elements, 3D models, music samples, or even website templates [Remixable Founder Edition review by Nongaphao, Medium].

Target Users: Based on reviews, Remixable caters to a broad range of creative individuals including artists, designers, content creators, and anyone with a passion for customization [Remixable Review — founder edition by kadarba Radar, Medium].

Collaboration: A key feature seems to be its collaborative capabilities. Users can work together on projects in real-time, fostering creative exchange and enhancing project quality [Remixable — Founder Edition review by Nongaphao, Medium].

Here are some additional details to consider:

Limited Information: While reviews highlight its functionalities, there isn't an abundance of information readily available online. It might be helpful to visit the Remixable website directly to learn more about their Founder Edition.

AI-powered Insights and Software Generation: Some reviews mention features like AI-powered insights and a Software Generator Tool, but specifics remain unclear [Remixable Review — founder edition by kadarba Radar, Medium].

If you're interested in learning more about Remixable - Founder Edition, I recommend exploring these options:

Official Website: Look for a Remixable website where they might detail the Founder Edition's functionalities and pricing.

Search for Tutorials or Reviews: Look for online tutorials or in-depth reviews that showcase the software's capabilities in action.

Social Media Search: Check social media platforms like Twitter or Facebook to see if Remixable has an active presence where they discuss the Founder Edition.

[masekonata]

Introducing Remixable - Founder Edition: Empowering Entrepreneurs with Versatile Tools

In the fast-paced world of entrepreneurship, having the right tools can make all the difference between success and failure. Enter Remixable – Founder Edition, a revolutionary product designed to empower entrepreneurs with versatile tools to streamline their workflow, enhance productivity, and drive innovation. Unleash Your Creativity At the heart of Remixable – Founder Edition lies its…

[c-40]

A-T-4 027 Chaka Khan - I Feel For You

Following on from yesterday the best example I can think of of African-American recording artists going all in on the electrofunk/hip hop sound in 1984 is Chaka Khan's hit I Feel For You. The track features a rap from Melle Mel, it's considered the first rap/soul crossover a alliance that would become a hit making formula from the late 1980s until today. The harmonica parts on the track are performed by the one and only Stevie Wonder, also the vocal samples 'Say Yeah' and 'Just A One More Time' are from Little Stevie's hit record Fingertips. I Feel For You is written by Prince and had already been recorded by The Pointer Sisters in 1982 and by Prince himself for his eponymous second album

Now the names you might not know, the arrangement is credited to Arif Mardin and Reggie Griffin. Arif Mardin had produced all Chaka Khan's solo records, he's a legend, in the early 1970s he'd been co-producing Aretha Franklin and Donny Hathaway, throughout the 1970s he produced major artists like the Bee Gees, Average White Band, and Carly Simon. Reggie Griffin on the other hand was a new jack. I can see him getting the gig because he'd produced West Street Mob's Breakdance Electric Boogie for Sugar Hill and would be producing Grandmaster Melle Mel's solo single Jesse. Multi-instrumentalist Reggie Griffin formed the group Manchild with Anthony "A.J." Johnson in the mid 1970s then produced a few electrofunk/hip hop records with George Kerr (including Thug Rock and Mirda Rock) before working with Sugar Hill. Another name worth mentioning is David Frank of The System who did most the synth bass with Reggie Griffin playing the live bass fills. We think armies of people are involved in making a hit record today, it's not new

I Feel For You goes to number 1 on the UKs singles chart. The video for I Feel For You would have been on Top Of The Pops. The set for the video is an imaginary basket ball court or some other outside fenced space like in West Side Story, a DJ is stood behind two turntables (but there are no speakers), there's graffiti (which looks hung like art in a gallery) some dancers are locking - two of the dancers are Shabba Doo and Boogaloo Shrimp from the films Breakin' and Breakin' 2: Electric Boogaloo. Shabba Doo was a member of Toni Basil's The Lockers dance troupe. Toni Basil left in the mid 1970s but co-founder Don "Campbellock" Campbell was still at the helm, I wonder if the other dancers were from the same troupe? The female dancers are dressed in high fashion and as I said the graf in the space looks hung like art in a gallery or museum, at the time the NY art world was embracing graffiti and DJs and Bboys would perform at exhibition openings

As a ten-year-old I loved this record. That week when Top Of The Pops is on I'm stretched out across the carpet head lifted by my hands and my nose almost touching the television as usual, Chaka Khan's I Feel For You is number 1 and my ears are wide open and eyes are fully dilated watching the video. Behind me on the sofa my dad begins muttering This isn't Music, or This isn't Proper Music, or This isn't Real Music, this prompted the first argument about music I had with my dad. My dad likes The Stylistics, the Four Tops and Trojan Tighten Up and Club Reggae comps. I was only 10-years-old and my dad has all the sensitivity of a Brummie screwdriver but what I now know he was trying to say was he finds the synths and over the top studio production a little soulless when compared to the productions of Thom Bell from just before and around the time I was born 10-years earlier

I didn't care it might not have sounded like Proper Music to my dad but I loved it so from that point electrofunk/hip hop became my music not my parents music

The video version

The remixed version it's a masterclass in editing

[wiziwiz]

Guy Gerber - What To Do ( Peter Guzman Afro Hours Edit )

Tel Aviv-based dance music producer Guy Gerber, who incorporates the best aspects of progressive house/trance, deep house, and techno into a unique style of his own, established himself as a rising star in 2004 with "Stoppage Time," a popular release by Bedrock Records that opened the door to a high-profile recording contract with Cocoon Recordings soon thereafter. Growing up in Israel, Gerber grew up playing soccer. By the time he'd reached his mid-teens, though, he'd found a new passion: music, in particular seminal English-language alternative rock bands of the '80s like Sonic Youth, My Bloody Valentine, the Cure, and Joy Division. He himself took up playing the guitar as a result. His tastes quickly extended beyond '80s alt rock, and he developed an affection for a variety of music, from the Beach Boys and the Beatles, to Kraftwerk and Chic, to Curtis Mayfield and Jimi Hendrix, to Iggy Pop and the Velvet Underground. He also got into electronic dance music, with such figureheads as Richie Hawtin, Laurent Garnier, and Carl Craig cited as key influences of his. Gerber made his debut as a producer in 2002 with releases on the British labels Alternative Route and Whoop! Within two years he'd made the jump to Bedrock, one of the premier progressive house/trance labels, perhaps best known for its association with John Digweed, its co-founder. Bedrock released "Stoppage Time" in 2004, and over the next two years, the song became an anthem, especially among the Ibiza contingent. The track proved so popular, in fact, Bedrock commissioned a remix EP. Released in 2005, it featured remixes by Max Graham and Tom Mangan. Meanwhile, Gerber signed to Cocoon, the techno-trance label founded by Sven Väth and with strong ties to the Ibiza scene. Cocoon released "This Is Balagan" and "Sea of Sand" as 12" singles in 2006, and a full-length album, Late Bloomers, followed in 2007. Gerber also founded his own label, Supplement Facts, which made its debut in 2006 with a limited-run promo of "This Is Balagan." Listen to more Guy Gerber here: https://amzn.to/3GaYvJL Other remixes of 'What To Do': https://amzn.to/49GcqFv Guy Gerber - What To Do ( Peter Guzman Afro Hours Edit ) #AfroHouse #DeepHouse #dj

[namelocals]

Soundcloud

Soundcloud is a platform that musicians use to make their songs and audio files accessible to a large number of people free of charge. Music listeners can register with Soundcloud and listen to as many pieces of music as they like.

Development of Soundcloud

Soundcloud was founded in August 2007 by founders Alexander Ljung and Eric Wahlforss, who are still employed today as managing directors and technical directors. Soundcloud has experienced rapid growth. In May 2010, the service passed the magic mark of one million users. In January 2012, the operators announced that they now had ten million registered users. In December 2012 there were already talks of almost 30 million registered users.

https://namelocals.com/wp-content/uploads/2023/08/Soundcloud.png

Functions

The main functionality of Soundcloud is the upload of your own pieces of music, which are then offered to other users for download. If you want to upload music, you need a registered account. This is not necessary just to call up the music files. Soundcloud offers the following detailed functions, among others:

Embedding the pieces of music in third-party websites using widgets and apps

Insertion of listener comments corresponding to a specific point in a piece of music in a graphical representation of the piece as a waveform (time list)

automatic promotion of new audio files via a connected Twitter account

Calling up the music files via various web players

Upload without file size limitation

Music suggestions based on music preferences imported from a Facebook account

Subscription to musicians’ profiles

Creation of playlists

Mark favourite songs

Upload remixes and edited songs as comments

This YouTube video shows how music can be marketed on Soundcloud.

Costs

The free basic account allows users to upload music with a maximum duration of two hours. Initially, in addition to the free basic account, there were also four paid accounts with annual costs between 29 and 500 US dollars. They enabled the musicians to upload a larger volume of music files (even unlimited in the ProPlus account). In March 2013, the pricing model was redesigned. Now there are only two pro accounts:

Pro: up to 4 hours of music for 3 euros/month

Pro Unlimited: unlimited music uploads for 9 euros/month

Legal

Soundcloud is also used again and again to distribute copyrighted material. The service attempts to counteract this using an automated Content ID system designed to filter out this content. However, this works too inaccurately, as it happens, again and again, that content that was actually composed by the respective artists is deleted and that copyrighted material remains available.

Importance for online marketing

Soundcloud is of course an important marketing platform for music and audio files of all kinds. Marketing opportunities similar to those for Facebook have already been found for this purpose, for example, the option of buying “SoundCloud Plays” in order to imitate a song’s great popularity.

In addition, the portal can also be used for advertising. As a Pro Partner, you can advertise your profile here and, for example, play an advertising jingle when you click on the profile photo with the mouse.

#2023

#blog

#digital

#digital marketing

#Engagement Rate

#geotargeting

#google seo

#Search Engine Optimization

#SEO

#serp

#SOUNDCLOUD

[faizan00000]

Remixable - Founder Edition

[trendyinfoblog]

Founder Edition

where the magic of collaboration comes alive for musicians across the globe. Say goodbye to the constraints of traditional music production, where distance and logistics can hinder your creative flow. With Remixable, you enter a virtual realm that ignites real-time collaboration among artists. Whether you're a solo performer yearning for a producer's touch or a band crafting a masterpiece from afar, Remixable delivers a seamless experience that fuels boundless creativity and cultivates the spirit of collaboration.

CLICK BELOW....!

[goodmorningmayberry]

A Holy Legacy w Dr. Larry Lyons - feat. Cancel Culture Club Pt 2

Doctor Larry is back talking about how parasocial relationships impact our daily lives, collective illusions compiling our shared reality, and some other stuff like family, working in entertainment and marketing, and relationality. This is the 1st half of the conversation from Dr. Larry Lyons - feat. Cancel Culture Club Pt 1.

We talk about Larry’s nephew Camden Coley (Karma’s World, Abbot Elementary, Mike) and the vibrancy of Black boy joy. We talk about the monetization of love and relationality, how our presence on the Internet results in our unwitting consent to toxic cultural developments, and get GRANULAR about what parasociety even is.

What does it mean to have fans?

What does it mean to force love and loyalty from a commercial market?

Are there actually barriers encasing our socioeconomic roles?

WTF is a demi lovato and why is Shift mad about that? Shift gives more details about the non-denominational fundamentalist evangelical performing arts cult he traveled across the U.S. with as a teenager in the late 90s-early 2000s, and describes how he discovered (in 2021) what the Jonas Brothers and Demi Lovato even are and that, as teenagers, they all directly and literally made millions of dollars by directly and literally causing abuse against Shift and the other kids in the cult to escalate to inhumane levels. Shift lays out similarities in evangelical fundamentalism and Hollywood, marketing and evangelism, and both sides of “parasocial” bonding.

Shift talks about our real world programming, dealing with people who accidentally virtue signal and warp their praxis into unraveling, and glory of discovering the gospel of Anne Heche (aka Celeste) in the wake of her sudden, tragic death.

Larry comments on the power of fits and fists in the comments’ sections and IRL, ponders the architecture of the ecosystems that divide people from experiencing life outside of their class' status expectations, and details people insisting upon keeping social traditions they know don’t work. 

Oh, how glorious that brands and companies have effectively strived to exploit our most intimate vulnerabilities. Oh, how everybody has to deal with the impact of public relations whether they know it or not.

Liars and Grifters and Fakes? Oh, my!! 

Always remember to never forget... follow, like, and rate us everywhere you listen!

  Follow Dr. Larry Lyons and his nephew Camden Coley:

Larry's IG

Camden's IG

  Follow Good Morning Mayberry!

GMM's YouTube

GMM's IG

  Follow Shift! 

Shift's YouTube

Shift's IG

  Logistics Credits:

Producer/host: Shift Orion

  Graphics Credits:

Shift Orion

  Soundtrack Credits:

GMM Intro by Shift Orion

Everything Is Different Now by Wonderful Glass Cage

(in no) Time (back soon 4 round 2) - remix - by Wonderful Glass Cage

Help our studio get our shit together by dropping some dollars on Venmo or CashApp: @iamshift

About Sam Maloney and Warner Music Group sexual harassment and NDA abuse

  Dr. Larry Lyons has lectured and taught courses in 20th Century American literature, sociology and composition at Rutgers and Princeton University. As an independent consultant, he provides­ writing, editing and creative services for clients in education, public relations, non-profits and the arts. He is also the founder and creative director of Brick City Varsity, a Newark-based photography studio and vintage clothier.

Listen, lindas

[doomandgloomfromthetomb]

Directions - Echoes

This 25th anniversary edition of Directions' Echoes came out last year, but music this timeless is worth discovering (or rediscovering) any time. Masterminded by Bastro member / Tortoise co-founder Bundy K. Brown, the expanded edition brings together the original release, remixes and a demo, all hypnotic, all essential. More than a quarter century later, Echoes still sounds incredibly fresh, a neverendless groove of looping/loping bass, trumpet swirls and rhythmic possibility. At this late date, it feels like a foundational and fertile text for the still-thriving Chicago underground scene.

[hystericalfeminist]

BUILD ME A CANON

Earlier this week, Delhi University's Oversight Committee removed works by writers Bama, Mahasweta Devi and Sukirtharani from the university's syllabus for undergraduate students of English. Bama and Sukirtharani are Tamil Dalit writers whose work looks at the experiences of the marginalised. Mahasweta Devi, a Bengali writer, was well-known for her Left-leaning politics and for being an advocate for tribal communities and their rights. She passed away in 2016.

I'd suggest one moment's silence for the Oversight Committee committing an oversight, except this is not an oversight. An oversight is an unintentional mistake, but this seems very intentional. As the DU clarified in a statement later, "the syllabus of the course has been passed through a democratic process with the involvement of all the relevant stakeholders and necessary deliberations at appropriate forums” (emphases mine). The university claims the English syllabus is suitably diverse and inclusive (suitably being the key word here) and it's interesting that as part of its defence of the Oversight Committee's decision, DU has pointed out the process of coming to that decision was "democratic". What it doesn't acknowledge is that if the committee is full of people who belong to dominant groups and doesn't have members who represent the minorities and the marginalised, then the committee's "democratic process" is critically flawed.

The DU statement came after the Academic Council submitted a dissent note, protesting the Oversight Committee's decision. The Academic Council described the Oversight Committee's functioning as vandalism and alleged it has been harassing liberal arts departments. "It is important to note that the Oversight Committee does not have any member from the Dalit or the Tribal community who can possibly bring in some sensitivity to the issue," said the Academic Council in its note.

There was some noise on social media about the decision to drop works by these three writers. Most of the discussion that I saw was about Mahasweta Devi's dropped short story, Draupadi. (Apparently the Oversight Committee chair complained the short story doesn't show the military in a good light. From what I remember, it's the police. They carry out wrongful arrests and brutally gangrape a tribal woman.) There's been far less discussion of Bama and Sukirtharani's works on English Twitter, who have mostly been referred to as the "two Dalit writers", like an addendum to Mahasweta, which is infuriating in itself. I know that this is probably because not enough people read translations. Particularly translations of literature from Indian languages.

There is also little talk about what has replaced the dropped works. One of the authors who has been included is apparently Pandita Ramabai, identified as an upper caste writer (Brahmin, if I'm not mistaken). I've no idea if her writing continues to feel relevant and/ or engaging, but it is all sorts of bizarre to "replace" a 20th century author with someone who died in 1922. Also, if she was included because she was Brahmin, I hope they have fun reading her book The High Caste Hindu Woman which is, I'm told, deeply critical of how sexist Hinduism. Whether or not Pandita Ramabai voiced any opinions of casteism in Hinduism, I don't know.

Even though translations don't get read as much, the fact is, the writings of Bama, Mahasweta Devi and Sukirtharani have been translated to English and other languages. They're part of different university's syllabi and for better or for worse, DU is not such an influential player in academia. If DU's decision to drop these writers convinces some Indian universities to do the same, we can only hope that other universities (in India and abroad) will start thinking about including them in their syllabi (if the writers aren't in them already). In a not-so-distant future, it's very likely that there will be universities abroad that will have a more diverse, inclusive and representative portrait of Indian culture in their syllabi while institutions like DU remain mired in a casteist, Hindutva bog. At that point, who should decide what will make the canon for Indian literature? The Indians or the foreigners?

It's the second time this week that we've heard conversations about erasure in the Indian cultural scene. Earlier this week, social media was on fire after the Indian edition of the Rolling Stone carried a cover story about the record label and music platform Majja, featuring two artists best known for their collaborations with Dalit rapper and lyricist Arivu. Rumour has it that the Rolling Stone cover was bought by Majja, presumably to promote upcoming albums by those two artists. However, since Dhee and Shan Vincent de Paul are currently riding a popularity wave because of their work with Arivu, many readers — beginning with director Pa Ranjith — expected the cover story would be as much about Arivu as Dhee and Shan Vincent de Paul. People also pointed out that Arivu had effectively been removed from a (disastrous) remix of "Enjoy Enjaami" (the original song is amazing).

Shan Vincent de Paul, one of the artists featured on the Rolling Stone cover, issued a statement on social media saying he had the utmost respect for Arivu and had no intention of erasing him. He clarified that the story was part of his efforts to promote his new album Made in Jaffna, which he's releasing with Majja. "I have no control over how the Press chooses their messaging or what narratives they push," de Paul wrote, which would be an excellent point if the cover wasn't bought. He may not have control over the narrative, but he's hardly an irrelevant cog in the wheel. Instead of attempting to exonerate himself, de Paul could have acknowledged that the story doesn't give as much space to Arivu as it should. I am, of course, presuming he's read the story.

If the rumour about the cover being bought is true then Rolling Stone and Majja are complicit in deciding a narrative that sidelines Arivu, either intentionally or carelessly. More than half of Rolling Stone's cover story is about "Enjoy Enjaami" and there is just one quote from Arivu. This sidelining may not be deliberate — the way DU's Oversight Committee's decision was — and it could be an example of the kind of unthinking oversight that the privileged commit all the time when it comes to acknowledging the contribution of the marginalised. Either way, the impression conveyed by the two organisations is that Arivu is not the person they want to promote. Countering the decision of the establishment — it doesn't get more establishment than Rolling Stone and Majja. One of Majja's founders is legendary music director AR Rahman — is the reaction on social media. The songs being freely available on multiple platforms and the (relatively) free access to the artwork and arguments by Dalit creators and critics on social media makes it difficult to invisibilise Arivu.

A translation of Mahasweta Devi's Draupadi is available online as are some of Sukirtharani's poems. DU has dropped Bama's novel Sangati. I'm not sure if there's an extract that's available online. It is not lost on me that it's easier to listen to a song than it is to read a novel, or a short story, or a poem. It is also not lost on me that the fact you can bob to an infectious beat makes it easier to not register the deep-rooted casteism referenced in the lyric, "Enna kora, enna kora, yein chella peraandikku enna kora? (In what way is my darling grandson any less?)" There are no such distractions when you read, for example, Sukirtharani's My Room Needs No Calendar: "As they write on me/ with their penises,/ I will my body to stop/ slithering away."

Sukirtharani and Bama minced no words when they were asked to respond to their works being dropped from the DU syllabus. "I was not surprised at all. Dalit voices such as myself and Bama’s are speaking for all oppressed women, not just Dalit women," said Sukirtharani. "I don’t see this necessary as an exclusion of just Dalit writers as we have seen how progressive writers whose works speak against caste, Hindutva, fundamentalism have also been removed in the recent past. These things will happen in our society, but we cannot be ignored." She said she wasn't going to ask for an explanation, but believed DU owed her an explanation. At the very least, they should have intimated her about the works being dropped. "When they want to project an image of India wherein there are no caste and religious inequalities, our works point out that caste and religious inequalities exist in our society. So, it is obvious that they want such works removed from the syllabus," she said.

Bama said, "For more than 2,000 years, we have been segregated, our histories have not been written. This government is trying to strangulate our voices, but we will shout. The youth of this nation have understood [what is happening]. Rather than being upset, we are angry. The anger will reflect in our works in future.”

I find myself wondering if the business of building a canon was always so complicated and rife with uncertainties. Will the books, music and art propped up by commerce and politics be the ones that make up our mainstream cultural identity? Could we build a better literary canon for Indian literature if more excerpts and poems were available online for free, if more works were translated? Would we care more if the literature was easier to access or would we still dismiss it because they're translations, because the works are by Dalit women? Can the conversations that we hold in the informal spaces of the internet be loud enough to make the canon more inclusive, to make the mainstream expand its narrow definitions? What is more likely to make it into an archive and survive into posterity — the Rolling Stone Cover image or the many "fixed it" versions that people created online? Is it possible that both can and will be preserved? Does dropping the works of writers like Bama and Sukirtharani and Mahasweta Devi make them invisible? Will the dissent make a few more people buy Bama's novel? Will it make some curious enough to look up Sukirtharani's poems?

The words, the tech, the platforms, the imagery — are all these still the master's tools? How long must one wield them before they can claim the tools to be theirs? Will they always be the master's tools and not "our" tools? Is the master the one who cares for the tools and uses them better? Is the master the one with the loudest voice and the deepest pockets, the one who can bribe the boys and hire the deadliest mercenaries? Who decides when the tools have been reclaimed?