#just because she collaborates with an activist doesn’t mean she is one please use your critical thinking skills

[baby-girl-aaron-dessner]

A reminder to my fellow Swifties:

Taylor attending a comedy show presented by an activist and collaborating with an artist who is an activist does NOT mean that Taylor is an activist.

Please stop praising her for the work of other artists. If she wanted to, she could use her huge platform to engage with important issues. Instead, she chooses not to.

[houroftheantichristwolf]

Lesbian Politicization

This was published 1990 in a book called Dykes-Loving-Dykes: Dyke Separatist Politics for Lesbians Only and illustrates exactly the long-standing issue with women appropriating lesbianism, using their political beliefs to try to define female homosexual existence in relation to opposing men. The agenda, of course, is to say fuck males and to fight the ever elusive and ever changing culture of patriarchy. 

That’s 100% relevant and helpful for actual homosexual females....not. 

I’ll make this short though, this is just to show how feminists been appropriating lesbians and applying their values to lesbian existence.

In the 1980’s, a decade of reactionary politics, femininity became an accepted value among many Lesbians. Even many politically radical Lesbians, who I would most expect to support Lesbian self-love and self-respect, who usually call male bullshit for what it is, began to openly admire feminine ways of dressing and acting. Femininity! A patriarchal hype if there ever was one.

Lesbians who didn’t look the way you personally think is more useful for your cause probably didn’t care to make a political statement out of their existence. The point of lesbians seeking lesbian communities is to find other lesbians - with the exception of those who WANTED to seek out political radical lesbian communities. That is not an inherent aspect of our existence, and to be honest, it’s not even a large part of it as women appropriating lesbians usually populated those communities. Here is a recap of the origins of radical “lesbian” separatism: *** [ In the late 70s a group of lesbians in Leeds, known as revolutionary feminists (RFs), made a controversial move that resonated loudly for me and many other women. They began calling for all feminists to embrace lesbianism. Appealing to their heterosexual sisters to get rid of men “from your beds and your heads”, they started a debate, which reached its height in 1981 with the publication of an infamous booklet, Love Your Enemy? The Debate Between Heterosexual Feminism and Political Lesbianism (LYE). In this, the RFs wrote that, “all feminists can and should be lesbians. Our definition of a political lesbian is a woman-identified woman who does not fuck men. It does not mean compulsory sexual activity with women. It’s no surprise that the booklet was so controversial. “We think serious feminists have no choice but to abandon heterosexuality,” it reads. “Only in the system of oppression that is male supremacy does the oppressor actually invade and colonise the interior of the body of the oppressed.” https://www.theguardian.com/lifeandstyle/2009/jan/30/women-gayrights “Political lesbianism originated in the late 1960s among second wave radical feminists as a way to fight sexism and compulsory heterosexuality. Sheila Jeffreys helped to develop the concept when she co-wrote “Love Your Enemy? The Debate Between Heterosexual Feminism and Political Lesbianism”[3] with the Leeds Revolutionary Feminist Group. They argued that women should abandon support of heterosexuality and stop sleeping with men, while encouraging women to rid men “from your beds and your heads.”[4] Heterosexual behavior is seen as the basic unit of the patriarchy’s political structure, lesbians who reject heterosexual behavior therefore disrupt the established political system.[5]Ti-Grace Atkinson, a radical feminist who helped to found the group The Feminists, is attributed with the phrase that embodies the movement: ‘Feminism is the theory; lesbianism is the practice.’[6]” ] ***

Lesbians’ acceptance of anything “feminine” is part of the weakening of Lesbian politics—a Lesbian parallel to the right-wing trend of het politics.

LOL good. Being a lesbian does not mean representing anything political. Also what the fuck? This is where queer activists got their penchant for calling lesbians Nazis lol. Where’s that meme that’s like, anyone I don’t like is a Nazi? lol great homophobia, Queen/dumbass.

Those Lesbians who act out the feminine model and claim it’s a contribution to Lesbian culture, a flowering forth of their “real selves,” are of course Fems

So feminine lesbians’ real selves aren’t acceptable within your framework because they trigger your contempt of gender presentation that you yourself do not have to take part of? But your “real self” - a non-lesbian pretending to be a lesbian - is commendable because you want other lesbians to act and look exactly how you do which supposedly is off-putting to patriarchy AKA you use our sexual orientation to say fuck you to men? I think not. 

The het media is full of stories about the het feminist who “realizes that she doesn’t have to give up being a woman to be a success in life,” who “regrets having tried to be like a man,” and is now “rediscovering the excitement of feminine seductiveness, the fun of dressing up in high heels, make-up and skirts, and her deep need for the joys of motherhood.”

“Realizes she doesn’t have to give up being a woman to be a success in life”; “and her deep need for the joys of motherhood.” So you understand femininity = heterosexuality. This is the 80s/90s, I wonder what her opinion is now that ‘femininity’ has changed: heterosexual women wear gym clothes, lift weights, have short hair, wear no make up or minimal make up etc., and men love it. And yet I see feminists also say that heterosexual women who are like this are still trying to please men and so are still feminine even though what they’re doing and how they’re looking is not “feminine” according to the original perception. So what’s the truth about ‘femininity?’ It’s equating it to anything that heterosexual men find appealing, which changes constantly. You really want lesbians to spend time to think about how to be as unappealing to males as possible when they’re not even relevant and so don’t dominate our every thought and action (unlike you maybe because you’re not homosexual and so have to try harder?)? Please, get real.

She’s a threat to the Big Lie of “feminine woman,” and so men and their women collaborators make up all kinds of ridiculous, hateful fictions to explain away her existence. The pressure is meant to humiliate and bully her into accepting femininity, and it must put her through soul-shaking self-doubt, even if she knows other Butches. 

While I do know this happens, the reason behind that is homophobia 100%, being “masculine” appearing is a red marker of homosexuality. The threat is the big lie of heterosexuality. “Feminine” lesbians were assaulted when with their partners or if found out that they are indeed homosexual, they were just less of an obvious target than “masculine” women. It’s not Oppression Olympics, this should be used to understand hate crimes against homosexual women.

Meanwhile, girls who accept femininity—the vast majority, unfortunately—are accepted as “real girls” and encouraged to take pride in their feminine ways. There are degrees of femininity, of course. Some Fem girls accept the complete emaciated drag queen sex-object ideal while others take on just enough feminine identity to still be accepted as real girls.

“Real girls.” I was definitely acknowledged as a “real girl” when I was still  more “unfeminine” in my appearance and not out than I am right now being out. What degree of ‘femininity’ am I considered to exhibit now according to feminist praxis, who knows. Either way, my relatives disagree that any amount of femininity would make me a ‘normal’ female. My mother was sad toward the end of her life because she felt conflicted that I wasn’t a ‘real’ female. You know what would’ve changed her perception? Being with a man and having kids.

It means spending time, energy and money on nail polish, perfume, hair-do’s, dresses, diets, body-shaping exercises, poses and games; fantasizing  yourself as the center of sexual attention, making everything into a sexual game, getting yourself further and further away from female reality, from real female Lesbian power. It means identifying more and more with het values and choosing to see yourself through men’s eyes.

I thought femininity was clothes, makeup and seeking to attract men. Then it’s wanting a family and diet and exercise, which aren’t exclusive to heterosexual men and women. But because heterosexual males find that appealing in their lives it’s considered feminine? So, again, “femininity” is anything heterosexual males find appealing in females. Got it. And that answers my question about what her thoughts probably are on contemporary “femininity.” 

Most importantly, choosing to be an obvious Lesbian is about living with integrity. A Butch’s choice to resist femininity is the choice of a female who’s being true to herself, choosing to be as alive to her female self as possible, regardless of the punishments inflicted on her as a result. I find in that resistance a key to Dyke power, Dyke beauty and Dyke love.

A lesbian being an actual lesbian - not pretending to be one or basing her existence on her capability to spite heterosexual males and females - and living her damn life is living in integrity period.  Associating a lesbian’s life with political intent and political values has no integrity, is manipulative and is suspect as hell.

[marinerofthestars]

the zodai tag

bit of a late arrival to this fandom, but better late than never, i suppose!

1. How did you hear about the books? about a year ago, i was doing research on the zodiac for an urban fantasy project i’m working on, tales from omphalos, when i found the house ophiuchus info page on the zodiac website. unfortunately life got in the way and i forgot the series for a while, but a little while ago i remembered zodiac’s worldbuilding and got sucked right back in!

2. What is your favorite moment from the series so far? it’s hard to choose just one moment, but i’d have to say skarlet and rho’s first meeting in black moon for how atypical it is. we know skarlet is the hypotenuse in rho and hysan’s love triangle, but she doesn’t act like the stereotypical petty Other Woman at all. she’s charismatic, she’s genuinely fun to be around, and she has sympathetic motives and ambitions. above all, she’s actually super nice towards rho, and doesn’t let her feelings get in the way of their political collaboration. (and then thirteen rising assassinated her character. yes i am still bitter about it why do you ask)

3. Which House are you from? house leo!

4. What do you like about your House? artistry pride is something i’d really love to be a part of as an aspiring author, i have blaze and trax (both criminally underrated characters imo) as my housemates, and our zodai wield FLAMING SWORDS in battle. what’s not to love?

5. If you had to change Houses, which House would you pick? since leo really vibes with my passion for art, this is definitely a tricky question! probably either libra (police brutality is a thing of the past with bind, and their government seems like they have their act together), scorpio (much waterworld. much ambition. much cool tech. wow), or sagittarius (diversity, democracies where the voices of the young and non-complacent can be heard, and really vibrant cities are all things i appreciate)

6. Which system would you most like to visit? capricorn, no question. the zodiax is THE single most location in the entire zodiac bar none to me - an ancient complex the size of a planet, its oldest curators having access to transportation systems most inhabitants don’t even know about? an archive of humanity’s collective knowledge, so massive it has hotels and restaurants within it because leaving to sleep or eat is just so impractical? LET ME TOUR IT. LET ME UNCOVER ITS MYSTERIES I KNOW THEY EXIST (i think history is rad okay)

7. If you got to choose, which Zodiac technology would you like to have? probably...the tattoo? i don’t have anywhere enough knowledge about neuroscience/engineering to design my own, but assuming that i did, i’d love to design a tattoo that can interface with my brain and with digital art software, so that i can turn whatever ideas i have in my head into artwork!

8. Which character would you want as a best friend? skarlet. she’s six feet tall, buff as all hell, super attractive, prefers diplomacy to violence but still perfectly capable of kicking ass, and an outspoken risers’ rights activist. what’s not to love? (though knowing the type of people i usually hang out with, i’d probably end up with like. twain or gyzer as my best friend. one can dream though)

9. Which sign would you like to date? aries, because as previously stated skarlet is awesome. (a sentiment i will continue to reiterate) failing that, either libra for their sense of justice, scorpio for their ambition and passion, or aquarius for their innovative mindset.

10. Who do you hope Rho “ends up with?” (If anyone at all!) firstly, thank you for acknowledging that rho might not be interested in romance after everything she’s been through. (aromantic rho? arho?) secondly: skarlet.

this might be a little controversial, but i feel like in some regards, rho has far more chemistry with skarlet than she has with hysan. (ms. russell. i am sorry but. i have. Issues. with ‘centaur smile’ and the context surrounding it doesn’t make it any better) all of their interactions are marked by a noted admiration on rho’s part, and it’s not just merely admiration of her frankly enviable body (there’s more than enough of that, but it feels respectful somehow, there’s no five-page purple prosey ramblings on how the sweat glints on skar’s brow as she lifts weights, unlike with some people - sorry, mathias), but admiration of skar’s personality.

her charisma. her ambitions. her drive to fight for people who’ve been beaten down for millennia, to give a voice to the voiceless. to use violence as a last resort, not a first strike.

even at their absolute worst in thirteen rising, even when they’re butting heads, they don’t let it get in the way of doing what needs to be done. hell, skarlet even points out that she wouldn’t be giving rho such a hard time if she didn’t respect the hell out of rho, if she didn’t think she was tough enough to take it. there’s a sort of unspoken bond between them, a slow orbit that they’re both caught in. at the end of the series, they part way on relatively good terms, and with the hope that maybe, just maybe, that orbit might become something more than just professional acquaintance.

also their oppositional dichotomy of cardinal fire/water signs is an awesome aesthetic that i really wish was brought up more than it was in canon :( 

11. If you could record a Snow Globe, what would you put in it? only A snow globe? you’re not exactly giving me a lot of slack here in all seriousness, if i had to choose one moment to record in a snow globe, probably the moment i first came up with the idea for the urban fantasy project i mentioned above, tales from omphalos. i’ve never been devoted as much time to or invested as much energy in a project as i have with tfo, and i’d like to keep an easily accessible record of my original vision on hand. and hey, if by some chance i manage to follow in romina’s footsteps, get tales from omphalos professionally published, have it become a big success with a respectable fandom, i’d like to look back every once in a while, and remember how it all began.

12. If you had the chance to tell Rho anything, what advice/encouragement would you give her? - lies, especially lies of omission, are necessary a lot of the time to get ahead in politics and life in general use that being ahead to help out the people and groups you care about - don't trust the immortal child-aristocrats or expect them to behave in a way that won't inevitably screw you over - if you must play nice with them, figure out how to decrease gemini’s horrific income inequality, and see what you can do about exporting cell rejuvenation therapy to the wider zodiac - ferez is right, risers are the future and you need to acknowledge that going forward - skarlet is excellent at garnering support and bridging generational gaps, and while fernanda purecell is a bougie running dog, she’s got her head screwed on the right way regarding politics and institutional riserphobia; together, the three of you should be able to make some headway towards making amends for past wrongs - i don’t care if family heads have suffrage, matriarchal aristocracy (aristocratic matriarchy?) is NOT a democracy or a form of government that looks out for the rights of men/NB people/agender people/multigender people/intersex people/you get the idea - romance is by no means an exclusively two-player game, and skarlet has said she would be open to an arrangement; however, if you MUST insist on ignoring that polyamory is a thing, go for the six-foot risers' rights activist - i’m sorry about all the bullshit with your mom. whatever the end result was, whatever her intentions, it does not excuse the way she treated you and your dad and stanton. it’s okay to feel like shit because of what she did to you, and not being able to wall it off doesn’t make you weak or anything dumb like that - you’re already far stronger than she ever was. i know how much it sucks - i was in the same situation as you once - but believe me when i say that things do get better. you’re not alone here, rho. - please you gotta fight the gender binary you live in the FUTURE you gotta do it you gotta-

BONUS QUESTION 13. How would you react if your friend became a Riser? let them know that I love and support them no matter what their house, that being the way that they are is totally valid, and that anyone who says otherwise will have to answer to my fist in their face. if they’re unbalanced, make sure they have access to any resources they need (possibly including memory recap vlogs, definitely including medication and therapy to help out with any health issues they may develop).

[seismicsight]

On Cop Toph

nobody can convince me that toph didn’t actively and openly refuse to enforce any laws/ordinances set by the Council that she felt were either (1) unjust, (2) discriminatory, or (3) served some underlying political agenda. 

this definitely made her unpopular among the later iterations of the Council, but who was gonna suggest ousting toph?? toph, the famously talented inventor of metalbending, well-connected noblewoman, venerated war hero, and best friend of the Avatar? yeah, thought so.

(things got even better when she ascended to the Board of Directors and became a non-voting member of the Council herself. then she was gleefully allowed to call out every single lily-livered politico as she pleased to their faces and on the record.)

and you bet your ass that in the short time she spent running the RCPD, she encouraged every single goddamn member of the force to question institutionalization and practice personal discretion with every case/call. and because she’s got that lie detector status, nobody could get away with misconduct or abuse of power under her watch thank you very much.  

i bet between her and aang and zuko, the systemic support of rehabilitation instead of punitive incarceration as a means to curb crime was written into the founding documentation of the republic. i mean, between toph, who’s been on the receiving end of unjust incarceration, zuko, who was given a chance at rehabilitation and came out the better for it, and aang, whose core moral beliefs hinge on respect for all life... yeah i’m gonna say that this was a thing.

being someone who’s experienced for herself the ways that corruption can manifest in institutionalized settings, she set out from day one not to let the place go to the dogs like every other powerful body out in the EK. it’s why the department is so small. they ONLY handle crime. not mental health issues, not social services, not homelessness, not private security, etc. and it’s also why the officers only have restraining metal cables on their person.

while we’re at it, i wanna address fandom discussions around toph being anything else besides a cop in her adulthood. and i generally agree. if i were to run with my own original ideas, i would have never pegged her to be law enforcement as an adult. 

but to be fair to LoK blogs i wanna interact with, i’m keeping toph’s affiliation with the RCPD in my headcanons. and to be fair to all of us working around canon, toph is nothing if not a pragmatist at heart. 

while the idea of toph becoming a staunch anarchist or vigilante are appealing, realistically i don’t see her deciding on maintaining these ideologies/lifestyles to their logical conclusions. 

anarchist: for one, while i think toph’s particular sentiments fall in line with social anarchism, she’s not nearly politically-motivated enough to try and start her own movement (katara is more the group’s activist personality), nor is she keen on dismantling whole existing systems... because then as the inciting agitator she’d be left with either the responsibility to institute a whole new societal structure through widespread political ground-work, or shoulder the blame if her actions created a power vacuum that could be exploited (side-eyes at Zaheer, the idiot who thought that killing a single monarch would solve the problem of corruption in the EK without major social momentum and collaboration.) toph is not a politician. she’s just NOT, sorry.

would she join an anarchist community if she found one? oh, for sure. that i can concede.

vigilante: i can definitely see her dabbling in vigilante work in her youth. i really can. it’s good outside-the-law fun that serves a morally-justifiable purpose. in the wake of corrupt or unjust institutions, she would definitely find appeal in taking up a mantle and taking things into her own capable hands. 

however, i imagine this lifestyle can’t be maintained indefinitely. for one, toph likes recognition and praise, and vigilantism requires an amount of secrecy that would start to grate on her after a while. not only because of her desire to be seen by others, but also because it might remind her too much of her own trauma and the years she spent sneaking away to participate in Earth Rumble as a child. and two, vigilantism doesn’t solve the problem of corruption or incompetence in existing institutions. after a while on this schtick, she would definitely get frustrated at the relatively tiny impact she can make as a lone actor (especially because she can’t like...write politically powerful messages at the scenes of her vigilante work to incite a social movement.) 

as such, i think a more pragmatic approach is toph working for herself as a bounty hunter or earthbending master or even being a self-sustaining homesteader (and then moonlighting as a vigilante). i doubt her dad would willingly bankroll her without some strings attached, or even that she’d be happy to take money from him because doing so suggests that she can’t sustain herself without assistance. note: vigilantism alone doesn’t pay. at all. it’s why famed vigilantes in fiction are often secret millionaires or work well-paying day jobs.

now... getting the opportunity to establish a brand new institution? one she can mold into anything she wants? one she can lead and thereby use as a vaulting point to have the ear of the powers that be in an entirely new society? bruh. definitely an upgrade from working under an alias on the fringes. which is why i think she agreed to do it in the first place.

establishing the RCPD started out as a favor to her closest friends...but i hold that it then became her opportunity to create something better. 

given this conclusion, i do take issue with the way the RCPD is characterized in LoK, as well as her life story around the job, but this post is long enough already. /rant

[body-in-revolt]

ALL OVER - ACTS OF LOVE: interview with director Marcus Azzini

text: Haroon Ali

“In All Over – Acts of Love I simply want to tell a beautiful love story.”

It’s as if the activist has awoken in theatre director Marcus Azzini (47), as we discover on the roof terrace of the International Theatre Amsterdam (ITA). Azzini made the performance Small Town Boy, based on the eponymous gay anthem (Smalltown Boy) by Bronski Beat, together with ITA especially for the Amsterdam Pride this summer. Like the famous Eighties song, the piece is about a gay boy escaping the countryside to seek happiness in the big city. ‘It’s my first performance specifically made for the LGBTI community’, Azzini confides.

‘It’s important that we keep telling these stories’, so the Brazilian-Dutch artistic director of Toneelgroep Oostpool tells us. ‘Until we’re no longer regarded as minorities. That term alone: “minorities”. We’re clearly in search of a new vocabulary for the discussions that are playing out now. Why should it be “extraordinary” that I, a homosexual man, have a 12-year-old son? Indeed, I advocate that no one should need to “come out of the closet”. Because it implies that some shame must be overcome before the real life can begin.’

After Small Town Boy, the rehearsals for All Over – Acts of Love, a unique collaboration between Arnhem based Toneelgroep Oostpool and contemporary dance platform ICK Amsterdam got underway. This performance is about two people who fall for each other – and who happen to be men. ‘In other words, another pink theme. I’m not intent on jumping onto the barricades, but after talks with choreographers Emio Greco and Pieter C. Scholten and writer Hannah van Wieringen I realized that this has to become a positive piece that, for once, does not problematize gay love. It wears me out to be regarded as “different”, just for sharing a bed with men. In All Over – Acts of Love I simply want to tell a beautiful love story.

What distinguishes this romance from other love stories?

‘Superficially these are just two men in their early thirties who live in a metropolis. Soon, however, it becomes clear that they’re living in our time in which climate change is constantly breathing down our spines. How do you live with that? How does it affect them? In other words: love in a time of climate change.’

What does the title All Over – Acts of Love stand for?

‘The first bit means to say: what if it’s all over and the world is really done for? But then it also means something like being all over each other. Acts of Love refers to love as a string of actions. Love is something you do, maybe even more than something you feel. That may also touch upon the psychology of a couple who have been together for long. What does it do to you to spend a whole life with one person; what does it do to your body to lie in bed beside the same person for fifty years? It’s something we can hardly imagine anymore. I’ve been with my man for nine years now --and I find even that something special.’

 Will you be staying together for the rest of your lives?

‘The wish is there, at least. Matthijs (van Bergen, fashion designer – ed.) spent nine months in London last year. I found out then, that I sleep and recharge better if he’s in bed beside me. So, he’s a sort of power pack; my love charger. Isn’t it strange that my body needs his body that much? Not just for romantic reasons, but truly for the physical aspect of love.’

 Are you someone who’s always in relationships?

‘As it happens, I’ve had several long-lasting relationships. The first one eleven years; then single for five years; now nine years at a stretch. Since I regard love as something you can do or make, it also becomes possible to create love in the theatre. If I play that I love you and you experience that as love even though you know I’m acting, then that’s love. You must keep seeing it as a play. If you are so merged together after all those years, then it’s nice to keep surprising each other and to ask yourself again and again: who do I want to be now? That merging and playing at love are the focus of this performance.’

 How did you get involved in this project?

‘ICK approached me. I made the performance LIstEn & See (LIES) together with Ann van den Broek, in which we also brought together actors and dancers. I generally focus on the physical aspect of acting and I want to connect the brain and the body. So, I do understand why ICK came to me – and I immediately wanted to accept the challenge. That’s what set the ball rolling

I called in Theun Mosk, a scenographer I enjoy working with, and Hannah van Wieringen, who is writing the text. She always comes up with strong dialogues that are very up to date. She knows how to capture beautifully how real people talk, while rendering it just a bit more poetic.’

 How did you put together the cast?

‘The piece follows the four seasons, performed by Ludwig Bindervoet and Kendrick Etmon. I chose them because they’re both powerful and inspiring actors who are fully engaged with the world and keep an open mind. There’s also a good chemistry between them. They’re two fiery men who project love, vulnerability and sex, even. The cast of dancers consists of Beatrice Cardone, Denis Bruno, Arad Inbar, Edward Lloyd, Isaiah Wilsson and Siva Canbazoglu, and others.’

Wouldn’t a cross-over of the two disciplines be more exciting?

‘Dance and drama are not separate for nothing, since you need to be so damn good in either discipline. So, there’s little point in drawing them out of their comfort zones. There are actors who can move well, but they will never dance at the level of ICK. And a dancer who has to speak becomes less of a dancer because he cannot focus on his specific talent. Therefore, I don’t use the term cross-over, but see it as a meeting. I want to look at what happens when actors and dancers practise their own disciplines alongside and betwixt each other. I had this wild idea, initially, to keep the actors out of sight altogether and just let them be heard, rather like an audio play. But it’s much more exciting after all to see the bodies of the actors move in between the dancers.’

 So, what role does dance play in this performance?

‘I had long discussions with Emio and Pieter about the choreography. I asked them if I could use their entire body of work to create a new dance language. Like directors often use a play by Shakespeare to do with it what they want. Well, they were a little hesitant at first, because a choreography is a work of art that has been perfected to the finest detail. Once you begin to toss around with it, it doesn’t do well. When we talked about it some more, they came up with the idea of creating a choreography together with the dancers especially for me, like a gift tied in a bow. It’s up to me to decide if I use the whole choreography or just a little piece of it. It’s still a dialogue, of course. Everything comes together in the rehearsals and then I see what works best.’

 Do Pieter and Emio still have an influence on the performance, or do you keep them out?

Laughing: ‘I try to ban them as much as possible. No, not that, but they won’t meddle with it much. I do have a rehearsal director overseeing the technique of the dance movements, so that each toe is placed the way it should. It will take all parties some getting used to, but Emio, Pieter and I have fortunately known each other for years, so there’s full trust between us. And we’ve put together such a good team, so it feels like a creative playground.’

 Is this cross-over – sorry: meeting – of dance and drama a new trend?

‘I don’t know. Some people are wary of cross-overs, because they think that it dilutes the arts disciplines. The performing arts are continuing to innovate, but it can be confusing to the audience sometimes. That is why I tell everyone explicitly that All Over – Acts of Love is a dance performance, so as to keep things clear.’

  ALL OVER – ACTS OF LOVE

DANCE AND LANGUAGE FIND EACH OTHER IN THE SEARCH FOR LOVE

 In All Over – Acts of Love, a collaboration with Toneelgroep Oostpool, dancers and actors present movements of love. Hannah van Wieringen has written dialogues in which there is exploring, thinking and feeling. Emio Greco and Pieter C. Scholten have created a choreography. Theatre director Marcus Azzini has brought everything together in a space designed by Theun Mosk in which bodies and language find each other without one yielding to another. Both go to great lengths in their urge for complete abandon.

 For credits and tour dates please visit

www.ickamsterdam.nl

Publicity image: Henri Verhoef Portrait Marcus Azzini: Bas de Brouwer Stage photography: Alwin Poiana

[letterboxd]

Family.

“We’re trying to say: stop thinking about Manson as the embodiment of all evil. If he got a record deal, maybe nobody would have died.”

Jack Moulton talks cults, Trump and noise-cancelling headphones with American actress and screenwriter Guinevere Turner. Charlie Says is her latest film with frequent collaborator, Canadian director Mary Harron.

Of the serial-killer films currently in release, Charlie Says is the one that puts a strong focus on the women who often remain in the background of these retellings. Leslie Van Houten (Hannah Murray), Patricia Krenwinkel (Sosie Bacon), and Susan Atkins (Marianne Rendón)—the three women who killed for Charles Manson (Matt Smith)—are imprisoned in isolation in a California penitentiary, as well as psychologically imprisoned by Manson’s delusional ideas.

Then graduate student Karlene Faith (Merritt Wever) is given the job of rehabilitating the young women—as long as they are prepared to confront the horrors of their actions.

Turner co-wrote the 90s urban indie lesbian feature Go Fish directed by Rose Troche, which preceded her meeting with Harron. Charlie Says is their most recent collaboration, having partnered previously on American Psycho and The Notorious Bettie Page.

What interested you in writing a film about Charles Manson? Guinevere Turner: When the producers met with me they said they wanted to focus on the women as we definitely never got a sense of a story told from their perspective before. Once I found Karlene Faith’s book The Long Prison Journey of Leslie Van Houten [Faith’s study of the rehabilitation process and elongated incarceration of the three Manson Family girls], I saw a whole side of the story that literally never gets represented.

I got very excited that I could make a good movie out of this and it would also be an interesting commentary on what it says about society that we always treated these women like they’re interchangeable. Nobody’s ever asked “what happened to them?”, “what made them do what they did?” and more importantly “why did we stop talking about them?”. We never stopped talking to Charlie! There was a real opportunity to talk about men and women, who and when we pay attention to historically.

Did you get the chance to work with Karlene Faith in person before she passed away [in May 2017]? Yes, she was fantastic. It took a while to persuade her into talking to me at first. I slowly gained her trust via email, then we would talk on the phone, and eventually I would be visiting her apartment in Vancouver and we became friends. For about two years we were as thick as thieves.

Her book was obviously a huge resource but she was also useful for research as she was a woman of that time. She gave me a great visual, listening to her activist life outside of prison. When she met the girls for the first time she had all these assumptions that they were gonna be freaky psycho-killers and she was blown away by how sweet they were. She was immediately turned by them and she wanted to help them.

What were some of the unexpected realities of living in a cult environment that you wanted to portray? So I grew up in a cult environment as you probably knew so I assume that’s why you ask that question. [Ms. Turner spent the first eleven years of her life as part of the Lyman Family. They were devotees of Mel Lyman who believed he and his commune members would eventually live on the planet Venus. Though parted from her mother after birth, she and her younger sister were ejected from the Family when her mother eventually decided to leave. Ms. Turner considered returning at eighteen but chose to go to college instead.]

Yes, I read the article in The New Yorker. For me, I was excited to bring this knowledge in my DNA of what it’s really like living in that environment to represent both the good and the bad parts. You have those semi-orgy scenes and people doing acid, but also scenes where everyone is sitting around for dinner. That grounds it a little more. At the end of the day, it is a family—albeit an infamously weird one—but it is a bunch of people trying to live together.

While there’s the “everyday” quality to it I also wanted to show the volatility. It can be beautifully tranquil one moment and then turn on the dime into something scary and destabilizing. I feel like those things were true of my childhood. Mary Harron heard me talking about my upbringing for decades and she would always say “you should write about it”. I didn’t want to write about it specifically, but when I found this movie I thought I could bring something personal to the project that no other screenwriter could.

We’re curious about how you like to write. What music do you listen to while you work and are there any films you used as inspiration? I can’t listen to anything when I’m writing. I have noise-cancelling headphones that don’t cancel noise enough. I could live in an actual sensory deprivation tank while I write and I would be so happy, but unfortunately you can’t bring computers underwater. So, no music.

I watched a lot of movies of the era, especially unconventional movies about Jesus such as Jesus Christ Superstar (1973). Those were interesting aesthetically.

There’s a shot in the movie where they’re walking up the side of this mountain and I just loved that iconography. We were short for time on the day and I pleaded with Mary to make it happen. It made me so happy that it became one of the images they use for the promotion of the film. It does feel like this biblical journey and we were trying to capture that vibe.

What do you do to ensure the female gaze is considered from the script? I find a lot of that is intuitive. For example in this script, there has to be nudity but you notice that every time someone is naked in this movie it’s really uncomfortable. That’s one thing in terms of subverting male gaze, is that there’s no way that any person could see those scenes as objectifying the body for more than a nanosecond because of what’s happening.

It’s all about power, so I like that it’s portrayed as being uneasy. Even when Matt Smith is naked, Charlie is exerting power over someone else and she’s repulsed by him. That’s one of my favorite scenes in the movie.

How does your acting background feed into the way you write your characters? I think because I’m an actor I deeply feel the reality of what’s available for the average female actor to play. There’s tons of “someone’s girlfriend” and all the tropes, so for me when I’m writing I’m asking myself what about this is going to make an actor say “yes please, let me play that part!”.

I need to present something complex and challenging that they don’t often see. As someone who’s auditioned for many characters that I thought were poorly written, I try and give even the small parts something that will make an actor excited to play them.

What makes your creative partnership with Mary Harron work so well? It’s funny because we’ve never really asked ourselves that. Of course in the last week we’ve been asked that a lot while we’re in the same room and we look at each other like confused animals going “why does it work?”.

We realize that we have a similar sense of humor so we laugh a lot even while we’re writing all this dark stuff. The main factor is that we really trust each other. One of the hardest things about collaborating is that you’re not sure if someone is shooting down your idea because it doesn’t work or they’re jealous that it’s good. You need to trust that you can test stupid ideas with them.

When we first met in 1996 [shortly after Harron’s directing debut I Shot Andy Warhol and Turner’s writing debut Go Fish] we immediately had an affinity for each other and started writing together. It was as easy the first time we tried it as it is now. There’s not even much of an evolution. I feel really lucky for that because as a screenwriter it certainly means I have a lot more access to the movie than usual because the director is always checking in with me.

Despite all of the bleakness, it’s clear in the film that these women just wanted to be loved. There’s such a deep sympathy for them. What interests you about the line of responsibility for those influenced by dangerous charismatic leaders? I’d say everything about that interests me.

I’m drawing parallels to politics today such as the alt-right people that Trump influences, for example. We’re seeing echoes where people are mindlessly following a person who is validating evil, dangerous, and disgusting ideas. For these women I had to constantly remind myself that they did commit these horrible crimes.

I feel like Charles Manson and Donald Trump are apples and oranges except for the fact that they strike me as people where their only real fuel is power and that half the time they don’t know what they’re doing or saying, they’re just terrified of losing it. They almost have no internal life. They just feel when they have the power and when the power may be taken away and what they do to keep it makes people do terrible things. It’s like an addiction.

Matt Smith as Charles Manson in ‘Charlie Says’.

I’m sure you’re painfully aware that we have four Charles Manson films coming out in a short space of time. There’s Tate, The Haunting of Sharon Tate, and Once Upon a Time in Hollywood, though I’m certain Charlie Says was conceived before all of these. How do you feel about being a part of this cycle? I started writing the movie in 2014 and most of the time movies are made two years later but that’s not how it worked out for various logistical reasons. So on the one hand, I cringe that it’s the 50th anniversary [of Sharon Tate’s murder] and that’s when our movie’s coming out—it feels tacky but it’s definitely not on purpose.

Which seems to be very deliberate on Tarantino’s part… But the way independent films work is that you try and get them made until you get them produced. You don’t have these luxuries of when exactly they’re going to come out. That said, we have landed in a zeitgeist moment which is nice in terms of people paying attention to the movie. I don’t know much about Once Upon a Time in Hollywood but I’m sure Tarantino has a radically different approach from ours.

While they share some similarities, your depiction of Charles Manson doesn’t work in quite the same way as American Psycho’s Patrick Bateman. How did you decide the ways you wanted to humanize Manson? I think the first thing that’s similar between how we portrayed these two characters is that while they’re these powerful frightening people, we’re demystifying them and grounding them in an essential pathetic loserness. Mary and I don’t talk about how we can make another movie that takes down toxic masculinity, that’s just where we end up sometimes.

With American Psycho the stakes of social responsibility were different. We were asking people to put your baggage with the book away, we’re women making this, and we are trying to turn it into something that’s a critique of masculinity in a funny and dark way.

For Charlie Says we’re trying to say: stop thinking about Manson as the embodiment of all evil. We want to stop giving him that power and show that he was a conman who was just a failed musician. If he got a record deal, maybe nobody would have died.

Christian Bale as Patrick Bateman in ‘American Psycho’ (2000).

I have to say, American Psycho holds up really well for the Trump era. One could argue that it works better now than when it came out.

How do you respond to the way you’ve already satirized these sociopaths in power and how that affected the increasing appreciation for the film over the years? It’s gratifying, because [American Psycho] was not particularly well loved when it came out. That’s disheartening when you work hard on a project that you think is more worthy. That said, it being more relevant now is terrifying. I watched the movie again recently and there’s a little part of you that cringes when we make Trump jokes because Donald Trump was a different kind of funny at the time.

‘Charlie Says’ is in US cinemas now, and available on VOD and digital from May 17.

[theherblifeblog]

Get to Know Vol. 2 Cover Queen Kerestin aka BigBodyMami

By Jessica Nudo

Some of the most important conversations happening around the cannabis industry involve storytelling. I will never grow tired of listening to how this plant has changed lives and redirected careers.

I recently spoke with Vol. 2 cover queen Kerestin (aka Keke), a diversely skilled advocate for the community. Our conversation took place on a sleepy Saturday morning while most others indulged over brunch. But not us - we had a phone date and I was eager to learn more, especially when I learned of our quasi similar backgrounds in beauty and what brought her into cannabis to begin with. It’s a unique transition, no doubt, but a well-rounded background crafts an informed voice.

Kerestin’s focus is on community, connection and self love and she creates incredible content as a beauty, sex and relationship blogger who is quickly becoming a role model for those experiencing difficulty navigating this complicated dating world (present!). But her work doesn’t stop there, in fact it starts with her full-time hustle as a housing advocate, supporting the cannabis space and beyond.

“I have a huge passion for people and their well-being and try to show that in all aspects of my life. One of the biggest focuses is being able to connect with people, namely those who are in vulnerable populations. Working as a cannabis advocate has allowed me to achieve a balance.”

For Kerestin, everything she does is rooted in empowerment, and it shows in her instagram stories. Whether posing questions for her followers or for the camera, discussing and embracing sexuality has been a driving force in conversations.

Leveraging power of the internet to become social change warrior.

With a diversified experience portfolio, she has managed bring change in all corners of the community, both independently and through collaborations with the well-known Ladies of Paradise. By combining a variety of interests and industries, Kerestin reaches a broad audience through a grassroots approach of just keeping it real, honest and free of sponsorship bias or influences. A rare approach in an online world of easily swayed opinions where many prefer to take the money and run, because above all else, she prioritizes fostering her connection to her follower base.

“Working at Ladies (of Paradise) for me is about connecting women and female identities to an industry that has past been male dominated and creating space. My main focus with Instagram is providing a profile that will inspire people and offer something authentic for them to connect with.”

Ah-ha moment on cannabis and career

So what was the pivotal moment that sent Kerestin on the green path? It started with an injury that left her in a dark place after treating the pain with pharmaceutical medication. Determined to take care of her body in a more natural way, she found herself gravitating to the plant-based remedy lifestyle that yielded many benefits without potential harmful side effects.

Just like for many of us, trial and error played a role in while navigating the overwhelming selections of strains, formulas and other learnings that mama cannabis has to offer. The discovery of products containing CBD and THC not only changed her life, but she felt empowered by her choices by opting to purchase products that were helping her to make a difference instead of just masking the pain.

Top Shelf Beauty

We’ve seen how influencers on social media have an impact on re-defining the beauty narrative, especially within the green space. When Kerestin began working with Ladies of Paradise, it presented more opportunities to discover new products and share her findings with an engaged audience. Her background in hairdressing and aesthetics provided her with the knowledge to cut through the noise of glorified brands and focus on those with quality ingredients and truer brand power.

Her must haves include Humble Flower’s THC lotion with jasmine flower, massage oil and relief balm. As for beauty, she swears by MILK’s CBD mascara (brb, checking out Sephora). To cure what’s on the inside as well as the outside, her daily routine includes a dose of wildflower CBD.

“With LoP, I came into the shop early as a model and just fell in love with the message and social justice piece. I was thrilled to come on board and help the team to apply this in their creative direction.”

She’s worked with companies who exercise a certain awareness when executing a campaign, and if there’s one key takeaway, it’s the importance of being mindful with what you say and how your messaging is presented. “People pay attention to what you say. Whether you have a hundred followers or a million - people are watching.”

Speaking from experience, Kerestin has showed up to photoshoots where the brand has pulled images for where the mood board are from her instagram. “It’s a great feeling when you become part of their mood board and creative direction. It instilled that people pay attention to what you say and what you're putting out there”

‘Body positive’ has become a hot buzz term that’s thought to empower humans in general. We see it in ad campaigns, presented in a way to love the skin you’re in, and other marketing-heavy slogans.

While the concept of body positivity comes from a good place, once you disrobe the term and dissect it for what it’s worth, the actual term undermines the idea behind it. "I don't consider myself a body positive activist, my main goal is self-love awareness and being able to live in your space. We need to allow people to just be in their bodies. That being said, I would like to see more non-able bodied people included in cannabis”

Her key takeaway for marketers: If a company is going to run a ‘body positive’ campaign, please refrain from using a token curvy person as a means to champion your message. “That will turn around real quick. Rather, consider gathering a diverse group of people with different backgrounds and life situations to show the true diversity of who is being represented.”

The ‘Gram

Instagram, a platform that you either love or hate. Loving it means that you’ve figured out a way to make it work for you. Brands of all sizes rely on it to spread a message, while those who advertise rely on it as part (or all) of their livelihood.

But sometimes that backfires because the internet is riddled with trolls - and I’m not talking those strange plastic dolls with neon hair that dominated toy stores in the 90’s (although no one can prove otherwise since many of them remain faceless).

In order to mitigate the chances of this happening, Kerestin uses technology to her advantage by filtering out keywords and phrases associated with negativity. This has allowed her to curate a positive space for her to share and engage with her audience. “We need to continue to support and maintain that growth of true bodies that we are seeing on Instagram. When I do post a photo, it feels good for me and I'm able to express my sexuality”

Damn right, and nobody should be taking that away from you.

Establishing the Balance and Creating Space in Cannabis for PoC

Then there’s the hot topic that is on everyone’s minds - the elephant in the boardroom that few C-suite execs will acknowledge, but rather grassroot collectives and entrepreneurs are prioritizing.

The ‘elephant’ is a reminder of why those privileged enough to work in the industry need to maintain a certain level of mindfulness while enjoying the fruits of their labor, because those who laid the groundwork (majority being people of colour) cannot because they are incarcerated. What a trip, huh?

Many will claim that we need more feminism to combat the social inequalities faced under these circumstances, but that all depends on how you view feminism. “I definitely consider myself a feminist, but I also try to maintain awareness of what it stands for and how it is portrayed.”

The reality is that we are living in a time where it often feels like humanity is in a regressive state. Human rights still account for something, just not enough. We have seen how taking social justice into our own hands can allow us to make democracy work in our favour, but it’s dependent on awareness, community support and inclusivity,

So how can white women be more supportive in the industry? “I think that there are still conversations that need to be had in order to help support women of colour in business in general, and I think that a lot of it has to do with awareness of white supremacy and it’s values and the way we conduct business. If you’re white and you’re in the business, you have women of colour not just working for you but working with you. Give them the opportunity to take the steps that they need to in order to become successful.”

Being a supportive, strong ally means checking your privilege and exercising awareness that not all opportunities are created equal. So how can white women be better allies? “There’s something to be said about just being aware of the space when you go into it. Working with people of colour means paying attention to how they are being treated in the business. PoC have not benefited from this industry at all and will continue to not benefit from it because they were incarcerated, have fines and can’t work in the legal industry. Ask yourself if you are still being mindful of what this industry was in the past and how to support people who haven’t been able to benefit from it”.

Be sure to follow Kerestin’s @bigbodymami account and Ladies of Paradise on Instagram.

Pick up a copy of The Her(B) Life Vol 02 here

[13610152128364555]

Top 10 Albums of 2018

It’s that time again. What a year. Thank gods we had great music for a little reflecting, some much-needed re-energizing, and of course, a lot of rabblerousing.

Here are my picks for the year’s 10 best albums. What turned your tables in 2018? Let me know at reynardloki@gmail.com.

Happy 2019!

Rey

10) Sleep — The Sciences [Third Man Records]

San Jose psych-doom power trio Sleep have emerged from the purple haze to release “The Sciences,” their fourth studio record — their first in nearly two decades — giving stoner rock fans everywhere 53 glorious minutes of dark, dank, primordial heaviness that few if any bands can deliver. Anchored by Jason Roeder’s surgical-strike stickwork and vocalist Al Cisneros’ syrupy, sludgy, downtuned bass, master axe-smith Matt Pike plows through the kind of menacing riffs one can imagine flying off Hephaestus’ anvil as he’s forging Poseidon’s new trident — just as the god of the sea is packing his bags (and bowl) for a journey into the deep.

Listen on Spotify.

9) Mojo Juju — Native Tongue [ABC]

Born in Australia of mixed heritage — Aboriginal (Wiradjuri) and Filipino — Mojo “Juju” Ruiz de Luzuriaga, in her third full-length LP, digs deep into race, family, immigration, colonialism, identity politics and Indigenous heritage across 16 soulful, sultry, deeply personal and exquisitely original tracks that stretch across styles, genres, vibes and even languages. In a troubling era where xenophobia is on the rise, “Native Tongue” deftly explores what it means to be “the other.” “Just because you own the airtime, you think you own the sky,” she proclaims on “Think Twice,” lassoing a global Zeitgeist that is impossible to ignore — and making it far groovier than anyone thought it could be.

Listen on Spotify.

8) JPEGMAFIA — Veteran [Deathbomb Arc]

For his third studio album “Veteran” (a reference, at least, to his four-year stint in the U.S. Air Force), the 28-year-old mad-scientist glitchcore rapper/producer JPEGMAFIA (aka Barrington DeVaughn Hendricks) pulls out all the stops and then some to deliver one of the most distinctive hip-hop albums in years — if his wild and wooly aural experiments can even be considered hip-hop at this point. Vulcanic bass lines slither over shattered post-industrial beats as the New York native, now based in Baltimore, stretches his restless, inquisitive mind (he has a master’s degree in journalism), riffing on such far-ranging matters as Defense Department discharge forms and the fashionista handbags made famous by singer Jane Birkin (the one-time collaborator/lover of Serge Gainsbourg). The production is totally frikkin’ insane; the samples alone set him apart, from the bizarre epiglottal workout (a looped ODB vocal) that snakes through “Real Nega” to the brilliant rapid-fire Bic pen-clicking in “Thug Tears,” which triggered, at least in one fan, an ASMR (“autonomous sensory meridian response”), the unique auditory-tactile synaesthetic feeling of euphoria that has been used to describe a “spine-tingling” event. In fact, the whole 47-minute affair is fairly spine-tingling — and a bit bone-rattling, too. (h/t: JF)

Listen on Spotify.

7) Art Brut — Wham! Bang! Pow! Let’s Rock Out! [Alcopop!]

The Berlin- and London-based art-punk quintet comes crashing back after seven years of silence with their exuberant, hook-laden fifth studio LP, a tightly-wound 35 minutes jam-packed with gorgeously odd, party-ready, rock-steady mini-anthems with more horns, harmonies, group ah-ahs and sing-alongs than your drunken final campfire jam at band camp. Cheeky speak-singer Eddie Argos keeps things humming along with blisteringly droll deliveries of super-catchy, instant-classic lines. “I hope you’re very happy together, and if you’re not, that’s even better,“ he sniggers to an ex-lover in what could be the most gleeful break-up song ever written. In “Too Clever,” Argos distills the waggish self-reflexivity that has been his touchstone since the band emerged 14 years ago: “Sometimes the smartest man in the room would rather be outside — howling at the moon … Ah-woo!” Press play and let the bad/good times roll...

Listen on Spotify.

6) Young Jesus — The Whole Thing Is Just There [Saddle Creek]

For their third studio album, art rockers Young Jesus have crafted fresh, expansive highways and byways across the musical map. Ranging like the plains of boozy philosopher-poet bandleader John Rossiter’s Midwestern roots — and shot through with the jazz-inflected post-rock his Chicago hometown made famous — “The Whole Thing Is Just There” shows the now Los Angeles-based four-piece at their edgy-yet-dreamy, exquisitely exploratory best. Enveloped by a spacious production, Rossiter muses nimbly, often ironically, over complex arrangements interspersed by instrumental improvisations, with angular shards of guitar peppering lush soundscapes. “If saints aren’t given voice to teach of burns, we’re led to blood periphery,” he warns on the brooding, labyrinthine opener “Deterritory,” before the band opens the throttle and doesn't let up for the rest of this multifaceted 49-minute masterwork. 

Listen on Spotify.

5) Daughters - You Won’t Get What You Want [Ipecac]

The hyper-intense post-grindcore noise mavens from Providence come out swinging on their fourth studio full-length (their first after an eight-year hiatus), showing that age hasn’t mellowed them out one bit. Above droning swirls of machine-edged walls of guitar, monomaniacal tank-tread basslines and call-to-battle drums, lead caterwauler Alexis S.F. Marshall lords over a gathering storm, slinging scorching, misanthropic observations of humanity’s dark side. “It may please your heart to see some shackled, wrists and throat, naked as the day they were born,” he howls on “Long Road, No Turns.” For 48 grinding, often terrifying minutes, Daughters exercise a powerful, all-consuming yet controlled cacophony — the kind of music killer hornets must listen to when they swarm. Still, there are intermittent flashes of beauty amidst the menacing Sturm und Drang of this post-apocalyptic wasteland, like one of those hornets pausing on a lonely flower, drawing a touch of sweet nectar before buzzing off for the kill.

Listen on Spotify.

4) Unknown Mortal Orchestra - IC-01 Hanoi [Jagjaguwar]

While recording their fourth full-length “Sex and Food” (also released this year) in such far-flung locales as Mexico City, Seoul, Reykjavik, Auckland and Portland, Unknown Mortal Orchestra’s Ruban Nielson (guitar, bass), his brother Kody (drums) and their father Chris (keyboards, flugelhorn, saxophone — the latter two often patched through effects) found themselves hunkered down one night in Hanoi. There the wandering New Zealand minstrels met up with Vietnamese musician Minh Nguyen (on sáo trúc, a traditional Vietnamese flute) for a casual jam at Phu Sa Studio. What emerged from that session are seven inspired tracks of sexy, smoky, brooding, propulsive Miles Davis-inspired exploratory improvisation. “IC-O1 Hanoi” may only clock in at 28 minutes, but it unfurls otherworldly mood for miles.

Listen on Spotify.

3) Jeremy Dutcher — Wolastoqiyik Lintuwakonawa [Independent]

Toronto-based operatic tenor, pianist, composer, ethnomusicologist and Indigenous activist Jeremy Dutcher mines his First Nations roots for his striking, inspirational debut, a labor of love that is the culmination of five years researching and transcribing the traditional music of the Maliseet, an Algonquian people of New Brunswick, Quebec. “When I first got to hear these voices, that work for me was a profoundly transformational moment in my life,” he said in a CBC interview. “It was a process of deep listening — to sit there with these headphones and really hear what these voices had to tell me.” Featuring the grainy, century-old recordings of his ancestors’ songs (which he uncovered on wax cylinders at the Canadian Museum of Civilization), the endangered Wolastoqey language (spoken by around 100 people), modern sounds and rhythms, and his own penetrating, emotive voice winding through sprawling post-classical rearrangements of traditional First Nations music, “Wolastoqiyik Lintuwakonawa” (“Our Maliseet Songs”) is an ambitious, fascinating and important work — a richly deserving winner of the Polaris Prize, one of Canada’s most prestigious music awards. Dutcher says his art is rooted in “Indigenous futurism,” one aspect of which is recovering traditional languages and viewpoints to counteract the Western narrative that seeks to erase them. Celebrating ancestral voices while looking to the future in a fight for today, this is one for the ages.

Listen on Spotify.

2) King Tuff — The Other [Sub Pop] 

On his dark-themed yet fun-filled fourth studio album, Vermont’s reigning king of psychedelic garage rock roams new territory, plumbing the worrisome depths of our current technology-driven, environmentally-destructive reality. Backed the impressive drumming of longtime collaborator Ty Seagall and aided by blasts of brass and sinewy synths, King Tuff (aka Kyle Thomas) rolls through crunchy, bluesy riffs, peeling back the layers of our iPhone-addled brains to reveal the poetry, nature and wilderness that we’ve lost along the way to our self-inflicted digitized annihilation. “So take me to your telescope and point me to the void, save me from the ones and zeros before it all gets destroyed,” he beseeches on “Circuits in the Sand.” If The Doors would’ve been the perfect final act to take the global stage as Armageddon rains down on Earth (“The End,” of course, being the last song we’d ever hear), King Tuff, with “The Other,” stakes a fairly convincing claim to the rabblerousing penultimate slot. 

Listen on Spotify.

1) Caroline Rose — LONER [New West] 

Somehow, Caroline Rose has managed to explore tough themes like sexism, misogyny, loneliness, self-doubt, infidelity and death, while delivering some of the most instant-party gems of 2018. Arch yet artful, Rose’s satire-spitting, synth-heavy third studio LP slips into seductively murky corners that burst open into dazzling technicolor skies on a dime. “I go to a friend of a friend’s party,” she deadpans on the opener. “Everyone’s well dressed with a perfect body. And they all have alternative haircuts and straight white teeth, but all I see is just more of the same thing,” The album, however, is anything but. With razor-edged turns of phrase, in-your-face punk attitude and catchy, curvilinear melodies, “LONER” certifies the Long Island songstress as a genuine pop maestro whose super-sly winks belie her 28 (!) years.

Listen on Spotify.

Honorable mentions:

Cassper Nyovest — Sweet and Short [UMG/Family Tree]

South African rapper Cassper Nyovest’s club-ready fourth studio album signals a return to his roots in kwaito (Afrikaans for “angry”), a heady mix of hip-hop and house music that originated in Johannesburg in the 1990s featuring slow tempos and African sounds, samples and slang that has grown into a potent youth culture. 

Listen on Spotify.

Peter Brötzmann and Heather Leigh — Sparrow Nights [Trost]

For their first studio album, Scotland-based improv pedal steel master Heather Leigh (whose excellent solo album “Throne” was also released this year) and German free jazz sax legend Peter Brötzmann show off the intimate, minimalist intensity they’ve developed over three years of collaboration. Probing and melancholic, “Sparrow Nights” is often rapturous, at times profound.

Listen on Spotify.

Tomáš Kačo — My Home [Independent]

On “For Chopin,” the opening track on his long-awaited debut album, 31-year-old virtuoso pianist and composer Tomáš Kačo takes the master’s lead, playing the famous Nocturne Op. 9 No. 2 (first published in 1832). But soon, the song diverges into his own expressive, jazzy strands to create not only an homage but an audacious musical conversation that stretches across the centuries. History plays a central role in “My Home,” which features some of the vibrant traditional gypsy music that Kačo’s father played for him when he was a just a young Romany pianist studying at the Academy of Performing Arts in Prague. A special treat: legendary bassist John Patitucci joins in for the duet “Marov.”

Listen on Spotify.

Scud + Nomex — Maschinebau EP (re-release) [Praxis]

In 1997, London techno-scuzz impresarios DJ Scud (founder of Ambush! Records) and Nomex (founder of Adverse Records) joined forces to launch the Maschinenbau label, releasing just two 7”s. Praxis had to good sense to re-release these deliriously filthy and abusive breakcore/industrial noise tracks just in time for the 21st-century robot invasion.

Listen on Bandcamp.

Ÿuma — Poussière d’ètoiles (“Stardust”) [Innacor]

In Poussière d’ètoiles (“Stardust”), Tunisian duo Ÿuma (singer Sabrine Jenhani and guitarist-singer Ramy Zoghlami) offer an intimate, minimalist blues-folk gem, sung in Arabic, that isn’t afraid to tangle with the difficult cultural politics of their homeland. In “Mestenni Ellil” (“I wait for the night”), they explore the desperation of two young lovers who can never be together due to the girl’s arranged marriage — a practice that is sadly legal and common in Tunisia.

Listen on Spotify.

[cynthiajayusa]

Keira Knightley Werks the Queer Narrative, Talks ‘Colette’

You know what’s to love, actually? How Keira Knightley has now played enough feminist roles to know her character, Juliet, in the bubbly holiday classic Love Actually doesn’t exactly fall into that category. In the Christmas rom-com, Juliet is the object of not one but two men’s desire, and copious close-up shots insist on telling us what we’ve already known: Keira Knightley is breathtakingly beautiful.

The 33-year-old actress was just 17 when 2003’s Love Actually was filmed. Since then, Knightley’s genre-spanning roles throughout her 23-year career have often positioned her as a heroine in girl-power period films, women characterized by their liberated state of mind (2008’s The Duchess) and patriarchal-defying genius (2014’s The Imitation Game, as Alan Turing’s mathematician-fiancée Joan Clarke). Real-life bisexual novelist Sidonie-Gabrielle Colette, who ghost wrote for author-husband Henry Gauthier-Villars (known as “Willy” and played by Dominic West) until she reclaimed her autonomy and byline, is right within Knightley’s wheelhouse of women smearing their male oppressors. Take Colette, whose 1944 book Gigi was adapted into a movie musical that won nine Oscars in 1959, including best picture.

Written and directed by out director and fellow Englander Wash Westmoreland (Still Alice), Colette is a tribute to his late husband and collaborator, Richard Glatzer, who died from the progressive neurodegenerative disease ALS. In the hospital before he passed away in 2015, Glatzer, who could not speak, typed “C-O-L-E-T-T-E” to Westmoreland on an iPad to communicate that his – but in many ways, their – next project should be “Colette.”

Recently, Knightley called to talk about her special connection to gay directors such as Westmoreland (and James Kent, who directs her in the forthcoming The Aftermath), her enthusiastic response to a Bend It Like Beckham sequel where best friends Jules and Jesse are lesbian lovers, and her desperate plea to drag queens.

 You’re so good in this I wouldn’t be mad if all you do is play period bisexuals for the rest of your career. 

Well, thank you very much! I’ll quote you on that.

Is there a special relationship between gay directors and female actors such as yourself that helps in telling a story like this one? 

That’s an interesting question! Yes, I think so. I think that there’s that quality of having to fight for your space and fight for your right to be who you feel you are and fight for your voice. So yes, I think there’s a similarity in those two aspects, and one I think, probably, Wash identified with in the story of Colette.

When it comes to the male gaze, is there a difference in having a gay director direct a sex scene? 

Yes and no. He did actually turn around when I think it was me and Eleanor (Tomlinson, who portrays bisexual American heiress Georgie Raoul‑Duval) and he was like, “You know, it’s really great ’cause there’s no male gaze here,” and I’m like, “Wash, there are only men in this room!” (Laughs) He’s like, “Yes, no – you know what I mean!” (Laughs) So yes, because sex is sort of taken out of it in a way, because obviously he doesn’t find me attractive, and that’s great (laughs). But I still think male sexuality in all of its forms is probably slightly different from female sexuality, so there are probably still subtle differences. But it is very nice to know that when I took my clothes off he didn’t get off on it at all.

Are there any other films you’ve worked on where you felt having a gay director helped in doing the story justice? 

Yes. I worked with… oh my god… my brain’s just literally gone blank and I’ve forgotten every single other person’s name that I’ve ever worked with before. Wait, what the f*ck? He directed Aftermath. I can see his face. Oh my god, this is really annoying because literally I just spent eight weeks with him and he’s the loveliest man in the entire world.

But I don’t know whether it’s sexuality that does it or just – I think it’s the individual. Possibly gay men, because of their fight for their identity and to be accepted and accepting of themselves, understand that there’s a level of emotional intelligence, which often – not always – a heterosexual man will simply try to shut down. So I think that helps if you’re dealing with emotions, which you are when you’re making a film. It helps to have an emotional vocabulary and intelligence and openness. And look, I’m a heterosexual woman, so maybe I’m completely talking out of turn, but I do feel, because there is still a process of acceptance that gay men go through, that emotionally they can be very, very intelligent and open and accepting.

Did Colette’s approach to sexuality speak to you in any profound or personal way? 

Yes, because she was entirely natural to herself and she acted without shame. What a wonderful, positive way of looking at your sexuality and the people that you fall in love with. I really respected that about her. I loved that she was herself and that any rule that didn’t fit she just broke and made the life that she wanted to live. I think that’s a wonderful, empowering story, both from a feminist point of view and from the point of view of her sexuality.

Speaking of feminism, I have a feeling Colette wouldn’t love your character in Love Actually. 

Probably not. (Laughs)

The men in that movie seem to have all the power, while your character is silent, cute; lots of close-ups of you looking pretty. How do you reflect on that role and what it says about women? 

I hadn’t really until you just said that! But yes, I can see that. I was 17 when I played that one and I was so excited about just getting a role in a Richard Curtis film. You know, I think there were some pretty good strong women in that. Not that one, but the Martine McCutcheon character and the Emma Thompson character, which is so heartbreaking. I don’t know. I’d have to look at it again with that frame of my mind. I do, however, know Scarlett Curtis, who is Richard Curtis’ daughter and a radical-feminist activist, so he’s done something right there.

As for Emma Thompson, she sobs to Joni Mitchell. And her story doesn’t have the happiest or even most empowered of endings. 

But strong people are allowed to break down; it doesn’t mean you don’t have emotions. You just have to then pick yourself up and stand up again. See, the problem is, I haven’t actually seen it since it came out, which was over 10 years ago, so actually I don’t remember quite enough to be able to argue either way. You really, really know it, so I feel like I’m just gonna have to go with whatever you say. (Laughs)

You played gay computer scientist Alan Turing’s fiancée in Imitation Game. Have you ever fallen in love with a gay man before? 

No, luckily. I feel very fortunate in that, ’cause that would be tricky!

Rumor has it that Bend It Like Beckham was originally written as a lesbian love story? 

I never read that version of the script! I mean, not as far as I know. But you might have information that I don’t have. No, the only version of the script that I ever read was the one that we shot, so it was as it was.

A lot of people in the LGBTQ community wanted Jess and Jules to be a couple in the end. 

Fuck yeah! That would’ve been amazing. I think they should’ve been too. I think that would’ve been great. We need a sequel.

You’ve worn some fabulous period wigs over the years – is that your real hair in Colette? 

No, I don’t think so. I think we had wigs, always through. Because there were so many different styles, and short, long. I think when it’s long we used some of my hair with some extensions, and then when it was short, it was a wig.

Do you realize how many drag queens are gonna be jealous of the one you wear in your role as the Sugar Plum Fairy in your forthcoming film The Nutcracker and the Four Realms? 

Oh, dude, yes. Hell yes. You know, we actually designed it with them in mind. I was so pleased. It was my first time where I could actually be like a drag queen, and I was so excited. We were all talking about it at the time; we were like, “Come on, this is the most amazing drag outfit,” and honestly, I was really excited because normally you have to be so subtle in films and I got these really long, fake eyelashes – I can’t remember whether we used them – but with bits of glitter over them, and we were all like, “This is perfect drag queen attire.” It was so amazing, and I think there are some amazing drag queens out there who are gonna wear it even better than I did. I hope that this film inspires some amazing costumes.

You sound like you could be an avid watcher of RuPaul’s Drag Race. 

Everybody’s a fan! Yeah, there’s a bit of Drag Race watching. And then there’s a great drag night in East London, which I used to go to when I could go out before I had a child, which was always fun. So can I just put that out there: Please, please let there be a drag queen somewhere who will be in a Sugar Plum Fairy outfit.

As a teenager, you were told your kiss with a gay female friend you went to prom with wasn’t appropriate. What did that experience teach you about LGBTQ discrimination, and how did it influence you as an ally for the community? 

I thought it was bullshit at the time. Bullshit… bullshit! Our picture was not put up (on the event’s photo wall) because it was deemed not appropriate. I’m not sure it was that particular experience that influenced me; I just remember thinking that was stupid and I think I’ve thought that – always along the line – any discrimination against people because of their sexuality has been utterly ridiculous. It was the way I was brought up, and so I’ve never questioned gay rights. So yes, that was one of them; but no, I don’t think that was my sort of awakening. I’ve always had family with many gay friends, and people in the LGBTQ community have always been around me all my life and have been wonderful friends.

source https://hotspotsmagazine.com/2018/10/04/keira-knightley-werks-the-queer-narrative-talks-colette/ from Hot Spots Magazine https://hotspotsmagazin.blogspot.com/2018/10/keira-knightley-werks-queer-narrative.html

[demitgibbs]

Keira Knightley Werks the Queer Narrative, Talks ‘Colette’

You know what’s to love, actually? How Keira Knightley has now played enough feminist roles to know her character, Juliet, in the bubbly holiday classic Love Actually doesn’t exactly fall into that category. In the Christmas rom-com, Juliet is the object of not one but two men’s desire, and copious close-up shots insist on telling us what we’ve already known: Keira Knightley is breathtakingly beautiful.

The 33-year-old actress was just 17 when 2003’s Love Actually was filmed. Since then, Knightley’s genre-spanning roles throughout her 23-year career have often positioned her as a heroine in girl-power period films, women characterized by their liberated state of mind (2008’s The Duchess) and patriarchal-defying genius (2014’s The Imitation Game, as Alan Turing’s mathematician-fiancée Joan Clarke). Real-life bisexual novelist Sidonie-Gabrielle Colette, who ghost wrote for author-husband Henry Gauthier-Villars (known as “Willy” and played by Dominic West) until she reclaimed her autonomy and byline, is right within Knightley’s wheelhouse of women smearing their male oppressors. Take Colette, whose 1944 book Gigi was adapted into a movie musical that won nine Oscars in 1959, including best picture.

Written and directed by out director and fellow Englander Wash Westmoreland (Still Alice), Colette is a tribute to his late husband and collaborator, Richard Glatzer, who died from the progressive neurodegenerative disease ALS. In the hospital before he passed away in 2015, Glatzer, who could not speak, typed “C-O-L-E-T-T-E” to Westmoreland on an iPad to communicate that his – but in many ways, their – next project should be “Colette.”

Recently, Knightley called to talk about her special connection to gay directors such as Westmoreland (and James Kent, who directs her in the forthcoming The Aftermath), her enthusiastic response to a Bend It Like Beckham sequel where best friends Jules and Jesse are lesbian lovers, and her desperate plea to drag queens.

  You’re so good in this I wouldn’t be mad if all you do is play period bisexuals for the rest of your career.

Well, thank you very much! I’ll quote you on that.

Is there a special relationship between gay directors and female actors such as yourself that helps in telling a story like this one?

That’s an interesting question! Yes, I think so. I think that there’s that quality of having to fight for your space and fight for your right to be who you feel you are and fight for your voice. So yes, I think there’s a similarity in those two aspects, and one I think, probably, Wash identified with in the story of Colette.

When it comes to the male gaze, is there a difference in having a gay director direct a sex scene?

Yes and no. He did actually turn around when I think it was me and Eleanor (Tomlinson, who portrays bisexual American heiress Georgie Raoul‑Duval) and he was like, “You know, it’s really great ’cause there’s no male gaze here,” and I’m like, “Wash, there are only men in this room!” (Laughs) He’s like, “Yes, no – you know what I mean!” (Laughs) So yes, because sex is sort of taken out of it in a way, because obviously he doesn’t find me attractive, and that’s great (laughs). But I still think male sexuality in all of its forms is probably slightly different from female sexuality, so there are probably still subtle differences. But it is very nice to know that when I took my clothes off he didn’t get off on it at all.

Are there any other films you’ve worked on where you felt having a gay director helped in doing the story justice?

Yes. I worked with… oh my god… my brain’s just literally gone blank and I’ve forgotten every single other person’s name that I’ve ever worked with before. Wait, what the f*ck? He directed Aftermath. I can see his face. Oh my god, this is really annoying because literally I just spent eight weeks with him and he’s the loveliest man in the entire world.

But I don’t know whether it’s sexuality that does it or just – I think it’s the individual. Possibly gay men, because of their fight for their identity and to be accepted and accepting of themselves, understand that there’s a level of emotional intelligence, which often – not always – a heterosexual man will simply try to shut down. So I think that helps if you’re dealing with emotions, which you are when you’re making a film. It helps to have an emotional vocabulary and intelligence and openness. And look, I’m a heterosexual woman, so maybe I’m completely talking out of turn, but I do feel, because there is still a process of acceptance that gay men go through, that emotionally they can be very, very intelligent and open and accepting.

Did Colette’s approach to sexuality speak to you in any profound or personal way?

Yes, because she was entirely natural to herself and she acted without shame. What a wonderful, positive way of looking at your sexuality and the people that you fall in love with. I really respected that about her. I loved that she was herself and that any rule that didn’t fit she just broke and made the life that she wanted to live. I think that’s a wonderful, empowering story, both from a feminist point of view and from the point of view of her sexuality.

Speaking of feminism, I have a feeling Colette wouldn’t love your character in Love Actually.

Probably not. (Laughs)

The men in that movie seem to have all the power, while your character is silent, cute; lots of close-ups of you looking pretty. How do you reflect on that role and what it says about women?

I hadn’t really until you just said that! But yes, I can see that. I was 17 when I played that one and I was so excited about just getting a role in a Richard Curtis film. You know, I think there were some pretty good strong women in that. Not that one, but the Martine McCutcheon character and the Emma Thompson character, which is so heartbreaking. I don’t know. I’d have to look at it again with that frame of my mind. I do, however, know Scarlett Curtis, who is Richard Curtis’ daughter and a radical-feminist activist, so he’s done something right there.

As for Emma Thompson, she sobs to Joni Mitchell. And her story doesn’t have the happiest or even most empowered of endings.

But strong people are allowed to break down; it doesn’t mean you don’t have emotions. You just have to then pick yourself up and stand up again. See, the problem is, I haven’t actually seen it since it came out, which was over 10 years ago, so actually I don’t remember quite enough to be able to argue either way. You really, really know it, so I feel like I’m just gonna have to go with whatever you say. (Laughs)

You played gay computer scientist Alan Turing’s fiancée in Imitation Game. Have you ever fallen in love with a gay man before?

No, luckily. I feel very fortunate in that, ’cause that would be tricky!

Rumor has it that Bend It Like Beckham was originally written as a lesbian love story?

I never read that version of the script! I mean, not as far as I know. But you might have information that I don’t have. No, the only version of the script that I ever read was the one that we shot, so it was as it was.

A lot of people in the LGBTQ community wanted Jess and Jules to be a couple in the end.

Fuck yeah! That would’ve been amazing. I think they should’ve been too. I think that would’ve been great. We need a sequel.

You’ve worn some fabulous period wigs over the years – is that your real hair in Colette?

No, I don’t think so. I think we had wigs, always through. Because there were so many different styles, and short, long. I think when it’s long we used some of my hair with some extensions, and then when it was short, it was a wig.

Do you realize how many drag queens are gonna be jealous of the one you wear in your role as the Sugar Plum Fairy in your forthcoming film The Nutcracker and the Four Realms?

Oh, dude, yes. Hell yes. You know, we actually designed it with them in mind. I was so pleased. It was my first time where I could actually be like a drag queen, and I was so excited. We were all talking about it at the time; we were like, “Come on, this is the most amazing drag outfit,” and honestly, I was really excited because normally you have to be so subtle in films and I got these really long, fake eyelashes – I can’t remember whether we used them – but with bits of glitter over them, and we were all like, “This is perfect drag queen attire.” It was so amazing, and I think there are some amazing drag queens out there who are gonna wear it even better than I did. I hope that this film inspires some amazing costumes.

You sound like you could be an avid watcher of RuPaul’s Drag Race.

Everybody’s a fan! Yeah, there’s a bit of Drag Race watching. And then there’s a great drag night in East London, which I used to go to when I could go out before I had a child, which was always fun. So can I just put that out there: Please, please let there be a drag queen somewhere who will be in a Sugar Plum Fairy outfit.

As a teenager, you were told your kiss with a gay female friend you went to prom with wasn’t appropriate. What did that experience teach you about LGBTQ discrimination, and how did it influence you as an ally for the community?

I thought it was bullshit at the time. Bullshit… bullshit! Our picture was not put up (on the event’s photo wall) because it was deemed not appropriate. I’m not sure it was that particular experience that influenced me; I just remember thinking that was stupid and I think I’ve thought that – always along the line – any discrimination against people because of their sexuality has been utterly ridiculous. It was the way I was brought up, and so I’ve never questioned gay rights. So yes, that was one of them; but no, I don’t think that was my sort of awakening. I’ve always had family with many gay friends, and people in the LGBTQ community have always been around me all my life and have been wonderful friends.

from Hotspots! Magazine https://hotspotsmagazine.com/2018/10/04/keira-knightley-werks-the-queer-narrative-talks-colette/ from Hot Spots Magazine https://hotspotsmagazine.tumblr.com/post/178729119780

[hotspotsmagazine]

Keira Knightley Werks the Queer Narrative, Talks ‘Colette’

You know what’s to love, actually? How Keira Knightley has now played enough feminist roles to know her character, Juliet, in the bubbly holiday classic Love Actually doesn’t exactly fall into that category. In the Christmas rom-com, Juliet is the object of not one but two men’s desire, and copious close-up shots insist on telling us what we’ve already known: Keira Knightley is breathtakingly beautiful.

The 33-year-old actress was just 17 when 2003’s Love Actually was filmed. Since then, Knightley’s genre-spanning roles throughout her 23-year career have often positioned her as a heroine in girl-power period films, women characterized by their liberated state of mind (2008’s The Duchess) and patriarchal-defying genius (2014’s The Imitation Game, as Alan Turing’s mathematician-fiancée Joan Clarke). Real-life bisexual novelist Sidonie-Gabrielle Colette, who ghost wrote for author-husband Henry Gauthier-Villars (known as “Willy” and played by Dominic West) until she reclaimed her autonomy and byline, is right within Knightley’s wheelhouse of women smearing their male oppressors. Take Colette, whose 1944 book Gigi was adapted into a movie musical that won nine Oscars in 1959, including best picture.

Written and directed by out director and fellow Englander Wash Westmoreland (Still Alice), Colette is a tribute to his late husband and collaborator, Richard Glatzer, who died from the progressive neurodegenerative disease ALS. In the hospital before he passed away in 2015, Glatzer, who could not speak, typed “C-O-L-E-T-T-E” to Westmoreland on an iPad to communicate that his – but in many ways, their – next project should be “Colette.”

Recently, Knightley called to talk about her special connection to gay directors such as Westmoreland (and James Kent, who directs her in the forthcoming The Aftermath), her enthusiastic response to a Bend It Like Beckham sequel where best friends Jules and Jesse are lesbian lovers, and her desperate plea to drag queens.

  You’re so good in this I wouldn’t be mad if all you do is play period bisexuals for the rest of your career. 

Well, thank you very much! I’ll quote you on that.

Is there a special relationship between gay directors and female actors such as yourself that helps in telling a story like this one? 

That’s an interesting question! Yes, I think so. I think that there’s that quality of having to fight for your space and fight for your right to be who you feel you are and fight for your voice. So yes, I think there’s a similarity in those two aspects, and one I think, probably, Wash identified with in the story of Colette.

When it comes to the male gaze, is there a difference in having a gay director direct a sex scene? 

Yes and no. He did actually turn around when I think it was me and Eleanor (Tomlinson, who portrays bisexual American heiress Georgie Raoul‑Duval) and he was like, “You know, it’s really great ’cause there’s no male gaze here,” and I’m like, “Wash, there are only men in this room!” (Laughs) He’s like, “Yes, no – you know what I mean!” (Laughs) So yes, because sex is sort of taken out of it in a way, because obviously he doesn’t find me attractive, and that’s great (laughs). But I still think male sexuality in all of its forms is probably slightly different from female sexuality, so there are probably still subtle differences. But it is very nice to know that when I took my clothes off he didn’t get off on it at all.

Are there any other films you’ve worked on where you felt having a gay director helped in doing the story justice? 

Yes. I worked with… oh my god… my brain’s just literally gone blank and I’ve forgotten every single other person’s name that I’ve ever worked with before. Wait, what the f*ck? He directed Aftermath. I can see his face. Oh my god, this is really annoying because literally I just spent eight weeks with him and he’s the loveliest man in the entire world.

But I don’t know whether it’s sexuality that does it or just – I think it’s the individual. Possibly gay men, because of their fight for their identity and to be accepted and accepting of themselves, understand that there’s a level of emotional intelligence, which often – not always – a heterosexual man will simply try to shut down. So I think that helps if you’re dealing with emotions, which you are when you’re making a film. It helps to have an emotional vocabulary and intelligence and openness. And look, I’m a heterosexual woman, so maybe I’m completely talking out of turn, but I do feel, because there is still a process of acceptance that gay men go through, that emotionally they can be very, very intelligent and open and accepting.

Did Colette’s approach to sexuality speak to you in any profound or personal way? 

Yes, because she was entirely natural to herself and she acted without shame. What a wonderful, positive way of looking at your sexuality and the people that you fall in love with. I really respected that about her. I loved that she was herself and that any rule that didn’t fit she just broke and made the life that she wanted to live. I think that’s a wonderful, empowering story, both from a feminist point of view and from the point of view of her sexuality.

Speaking of feminism, I have a feeling Colette wouldn’t love your character in Love Actually. 

Probably not. (Laughs)

The men in that movie seem to have all the power, while your character is silent, cute; lots of close-ups of you looking pretty. How do you reflect on that role and what it says about women? 

I hadn’t really until you just said that! But yes, I can see that. I was 17 when I played that one and I was so excited about just getting a role in a Richard Curtis film. You know, I think there were some pretty good strong women in that. Not that one, but the Martine McCutcheon character and the Emma Thompson character, which is so heartbreaking. I don’t know. I’d have to look at it again with that frame of my mind. I do, however, know Scarlett Curtis, who is Richard Curtis’ daughter and a radical-feminist activist, so he’s done something right there.

As for Emma Thompson, she sobs to Joni Mitchell. And her story doesn’t have the happiest or even most empowered of endings. 

But strong people are allowed to break down; it doesn’t mean you don’t have emotions. You just have to then pick yourself up and stand up again. See, the problem is, I haven’t actually seen it since it came out, which was over 10 years ago, so actually I don’t remember quite enough to be able to argue either way. You really, really know it, so I feel like I’m just gonna have to go with whatever you say. (Laughs)

You played gay computer scientist Alan Turing’s fiancée in Imitation Game. Have you ever fallen in love with a gay man before? 

No, luckily. I feel very fortunate in that, ’cause that would be tricky!

Rumor has it that Bend It Like Beckham was originally written as a lesbian love story? 

I never read that version of the script! I mean, not as far as I know. But you might have information that I don’t have. No, the only version of the script that I ever read was the one that we shot, so it was as it was.

A lot of people in the LGBTQ community wanted Jess and Jules to be a couple in the end. 

Fuck yeah! That would’ve been amazing. I think they should’ve been too. I think that would’ve been great. We need a sequel.

You’ve worn some fabulous period wigs over the years – is that your real hair in Colette? 

No, I don’t think so. I think we had wigs, always through. Because there were so many different styles, and short, long. I think when it’s long we used some of my hair with some extensions, and then when it was short, it was a wig.

Do you realize how many drag queens are gonna be jealous of the one you wear in your role as the Sugar Plum Fairy in your forthcoming film The Nutcracker and the Four Realms? 

Oh, dude, yes. Hell yes. You know, we actually designed it with them in mind. I was so pleased. It was my first time where I could actually be like a drag queen, and I was so excited. We were all talking about it at the time; we were like, “Come on, this is the most amazing drag outfit,” and honestly, I was really excited because normally you have to be so subtle in films and I got these really long, fake eyelashes – I can’t remember whether we used them – but with bits of glitter over them, and we were all like, “This is perfect drag queen attire.” It was so amazing, and I think there are some amazing drag queens out there who are gonna wear it even better than I did. I hope that this film inspires some amazing costumes.

You sound like you could be an avid watcher of RuPaul’s Drag Race. 

Everybody’s a fan! Yeah, there’s a bit of Drag Race watching. And then there’s a great drag night in East London, which I used to go to when I could go out before I had a child, which was always fun. So can I just put that out there: Please, please let there be a drag queen somewhere who will be in a Sugar Plum Fairy outfit.

As a teenager, you were told your kiss with a gay female friend you went to prom with wasn’t appropriate. What did that experience teach you about LGBTQ discrimination, and how did it influence you as an ally for the community? 

I thought it was bullshit at the time. Bullshit… bullshit! Our picture was not put up (on the event’s photo wall) because it was deemed not appropriate. I’m not sure it was that particular experience that influenced me; I just remember thinking that was stupid and I think I’ve thought that – always along the line – any discrimination against people because of their sexuality has been utterly ridiculous. It was the way I was brought up, and so I’ve never questioned gay rights. So yes, that was one of them; but no, I don’t think that was my sort of awakening. I’ve always had family with many gay friends, and people in the LGBTQ community have always been around me all my life and have been wonderful friends.

from Hotspots! Magazine https://hotspotsmagazine.com/2018/10/04/keira-knightley-werks-the-queer-narrative-talks-colette/

[megadarkbouquettidalwavethings]

Five visions for the future of music

Image copyright Getty Images

Image caption Hatsune Miku: She’s not there

Welcome to the (not so) distant future.

The year is 2018.

Music is changing fast, but can the humans keep up?

Here’s a handful of possible outcomes.

Go boldly everybody.

1) Your favourite singer is not real

One of Japan’s biggest pop stars Hatsune Miku (above) is not a real person.

But that small detail didn’t prevent the humanoid singer from releasing another new music video last week.

She may also have some duets lined up – given that she’s already collaborated with Pharrell.

If the name of the fictional J-pop act is unfamiliar, then try this one on for size:

Roy Orbison.

The Big O died in 1988 but now his 3D hologram world tour will come to life, alongside the Royal Philharmonic Orchestra, on 8 April in Cardiff.

Image copyright Getty Images

Image caption Rob Orbison: In Dreams and now in holograms too

His son, Roy Orbison Jr, who hopes his dad’s avatar will one day have a Las Vegas residency, says: “We’re really excited we got the opportunity to do this: the first big tour of a deceased artist with a hologram.

“I don’t think it’s possible yet for the hologram to walk out into the audience so there’s definitely a lot of potential for live application.”

He adds: “But most importantly this is just the icing on the cake.

“The cake is those amazing songs that my dad wrote and his incredible voice.”

Image copyright Getty Images

Image caption M.I.A finds technology ‘sexy’

Rapper, activist and actual woman M.I.A believes virtual alter egos can benefit living musicians too.

“Artists are at the cusp of embracing AI. But what is political activism in AI phase?” she pondered at Meltdown.

“I think ‘Should I make my next video in virtual reality instead of me?’. I find that sexy – new technology.

“I could take the hippy route of singing to people face-to-face… or I could stream my virtual shows to people’s bedrooms around the world so you can be at my show wherever you are.”

She went on: “The amount of data AI can pick up on is so fast growing that the future me will be way better anyway!

“But will the future me be less politicised?”

Image copyright Getty Images

Image caption Can the real Coral please stand up

Speak to James Skelly of Merseyside psych rockers The Coral and he’ll tell you he would have made the digital changeover years ago.

He says: “We wanted a holographic version of The Coral, when we were first doing well in about 2002, to tour Japan as us.

“If there was a group that could do another gig, as well as us, and we could split the profits, I’d be up for it!

“But you need songs – it’s always about songs.”

For all we know, the future may have already started for Guy Garvey of Manchester band Elbow.

“How do you know that we are not already holographic?” he quips.

Well, quite.

2) The live parameters have shifted

Image copyright Bluedot Festival

Image caption Bluedot Festival

From the hippies at Woodstock in 1969 to Ed Sheeran and his loop pedal at Glastonbury this summer, the festival experience has been forever changing.

By next summer, virtual and augmented reality – as well as “3D mapping” – could mean they are more interactive than ever before.

Ben Robinson, creative director of Bluedot Festival at the Jodrell Bank Observatory (you know, the one in Hitchhikers Guide), is giddy at the thought of “shifting the parameters”.

“We had Orbital playing [in 2017] who, 20 years ago, were the very cutting edge, looking at lasers and light production making it more than just some guy standing on a stage,” he says.

“Now today the incorporation of visuals and the production that goes on is quite insane.

“3D mapping manipulates the look and feel of a 3D object. It’s been done on castles to make them look like they’ve fallen down.

“Now people can experience being on the stage with the artists. Or the gig could move off the stage.

“We are a generation spoiled with possibilities.”

Image copyright Getty Images

Image caption Gorillaz

Animated heroes Gorillaz hosted their own one-day festival, Demon Dayz, at Margate theme park Dreamland last summer.

Co-creator Jamie Hewlett told the Daily Star that he and Damon Albarn may be getting “too old” but Ben sees no reason why the show can’t go on without them.

“In the past a band’s legacy was they left a record and VHS recording of a concert. Now they can leave the tools for someone else and be just as effective 50 years in the future.”

3) The recording studio is in your laptop

Image copyright Getty Images

Image caption Noel Gallagher: “I’m in the UK – what time is it there?”

Noel Gallagher confessed to Radio X’s John Kennedy last month that he had never actually met the bass player on his new album Who Built The Moon?

Jason Falkner was doing his thing down the line from LA, while Noel was having his mind blown in Belfast and London.

Noel said: “It was the entire opposite to the thing I’ve ever done. My thing with Oasis was being in a room with a bunch of people and eye contact.

“Here I am at two in the afternoon talking to a guy on an iPad and for him it’s four in the morning and I can hear the song coming through his speakers and he’s saying ‘What do you think of this? Maybe if I do that?’

“And I’m like ‘this is so far out it’s unbelievable’.”

Butch Vig, former Nirvana producer and drummer with Garbage and 5 Billions in Diamonds, confirms such technology is also now available to new bands, who are short on cash but long on distance and imagination.

“There’s a new editing programme where you can be working on the same song in real time in different cities,” he says.

“You have to be creative with the tools you’ve got and, because of the digital technology, everybody can have a really powerful recording studio in your laptop.”

Image copyright Getty Images

Image caption Beth Orton: Perfectly imperfect

Beth Orton (who incidentally describes Hatsune Miku as “the music industry’s perfect woman”) embraced such kit on her latest album Kidsticks and in some cases preferred computer-generated sounds over actual instruments.

She says: “The ability to play the keyboard and the sound to be any sound possible was very freeing. That would influence the melodies that you created.”

But just a little of that human touch still goes a long way in the creative process.

“Even making an electronic record it was about the connection with the producer and the other musicians.

“I personally like a bit of imperfection.”

4) There’s a direct line between you and your favourite act

Image copyright Getty Images

Image caption Jack White: “It says ‘Dear Stephen’, thanks for your support’

Jack White’s Third Man Records reward their subscribers with deliveries of exclusive limited edition pressings.

DJ Gramatik went a step further last week by becoming the first artist to “tokenise” himself, meaning fans who buy the token using the cryptocurrency Ether can potentially share in his future revenue.

Jeff Smith from music databse Discogs believes such block chain technology will “set a direct line from creator to consumer to be able to send things directly, without any form of piracy”.

He says: “We could see subscription platforms, like Third Man records, being able to send out Jack White exclusives without them being traded or shared in any way.”

That’s not to say that fans won’t still crave physical records and material from their new crypto-favourites.

“We’re definitely seeing a universal unplugging and physical music becoming a major part of peoples lives again.”

Image copyright Getty Images

Image caption Loyle Carner: Fighting for your right (to not release more music yet)

London hip hop star Loyle Carner is not currently available in token form and he’s happy to keep fans waiting for the follow-up to his Mercury-nominated 2017 album Yesterday’s Gone.

“A song comes out and people say ‘I like that – OK now I’m bored of that. Where’s the next one?’,” he explains.

“Singles are like chapters from a book and if you want to hear my music you’ve got to wait for it.”

5) But new music technology will not be for everyone

Image copyright Getty Images

Image caption Neil Hannon: People person

For all the head-bending future technology, for many, music always was and always will be about the people… man.

Neil Hannon from the Divine Comedy says: “I’m going to come across as a complete Luddite now but I believe music only gets worse the further you take people and humanity out of it.

“I foresee if they insist on going down this non-existent route then you’re only going to get another punk of some description that rewrites the rulebook.”

Punks like Irish rockers The Strypes maybe?

Bass player Peter O’Hanlon says: “Our fresh approach will be that we just come and play the gig! Everybody else is flying across the stage and we just stand in front of you and play.”

Guitarist Josh McClorey agrees: “The other stuff is cool, but it’s a gimmick.”

Image copyright Getty Images

Image caption Lisa Hannigan: “Can you plug me back in at the back please?”

Compatriot Lisa Hannigan won’t be found jamming over the internet or appearing live as a hologram anytime soon.

“I don’t think that’s going to be my bag of chips!” says Lisa.

“I just like rocking out a jam with my friends. I can barely work the camera on my phone.

“Cancel the Lisa Hannigan Hologram tour. We’ve lost the cable!”

Just because you can, doesn’t always mean you should and as we hurl ourselves into the new age, fellow folkee Marcus Mumford prefers to hold on to the sacred spirit of the past.

He says: “I don’t know what the future of music is going to look like but if I’m not playing I don’t want no part of it.

“If it sounds good and people are having a good time, then it’s enough for me.”

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Something good is happening in Glassell Park. On a quiet full moon night, outside the margins of inner city Los Angeles, Big Bud Press HQ is hosting Sweet Nothings, an open house party with traveling creators & independent artists hosting their wares. Outside on the streets young People crowd the entry doors taking photographs and selfies, documenting the energy of the evening. Vintage classic threads adorn their bodies, statements of political orientations and activist affiliations pinned to their lapels, blazers, and coats. In a show of national solidarity and cash support, Big Bud is raising awareness for Planned Parenthood in an evening of action, fashion, and flair. With 10% of all profits generated from the sales proceeds, the retailers are expected to share in the wealth with many people across the city, state, and the nation who are committed to seeing Planned Parenthood remain open and funded. Because you know, access to reproductive healthcare is our right to life, liberty & the pursuit of happiness.

The getting is especially good on the night of February 11, and the house always wins. A diverse eclecticism of punk rock threads to iconic fifties throw-back, the walls & rooms are jam packed with fresh hipsters ready to dip into their pockets to rock the cash bar. First making my way into a back room outfitted with curated vintage stock, I immediately fingered a fine suede coat of impeccable design, cut, and structure. Unlike anything else within the generous racks of Whurl Vintage, the soft suede is a shade of smoke green and tourmaline with snap buttons lining the corset closure. Its divine. Circling and socializing among the evening’s events, organizer Ellen is hyped at the quality of my find, and encourages me to invest in such a piece. At the cost of $40 I can’t help but absolutely agree with her enthusiasm. Alas, it was meant to be. To outfit and accent the fabulous find of suede dreams, I also invested in the simple elegance of a couture Moschino handkerchief scarf from Bumbler Vintage. When the money is guaranteed to be in support of indispensable social services, then every last penny counts.

In another front corner of the retail space, Big Bud Press features an especially bright and welcome storefront with vibrant vibes touching every detailed design. Perfectly curated rainbows, rose blossoms, and marvelous marigold embroidered satin bombers invite the touch, while polychromatic cozy acrylic knits beg for warm bodies to snuggle up against on cold winter nights. An avid enamel pin collector, I scour shelves of plenty in search of the perfect pins that will accent my curated sense of personal style. A fair hand holding a single pink rose first catches my artist’s eye. Complimenting an ensemble featuring femme hands with fresh pinks and soft enamel petals, the Nail Salon Neon Pin will join the recent arrival of J. Brager’s Flower Power and Wolf Shadow pins. Beauty compliments beauty, and these bevies look as though they were made to play with one another. 

Another enamel pin take home is a UFO beaming down rainbow rays of peaceful delight. Cosmic constellations are set in gold colored metal, with stars shimmering in the backdrop of galaxies far, far away. This unexplained flying phenomenon will be teamed up with Pteroble’s Nightfall Cityscape, Stodium’s Cosmic Orca, and OH NO Rachio’s Rose Gold Constellation Moon Phase enamel pins on the lapels & pockets of my denim. Beam me up Scottie.

To round out these adorable creations, I chose to breathe love in the air with the Smokey Joint pin. Roll up sweet succulent herbs in hemp papers and smoke it, cause this spliff is lit. The take away was fair with three for thirty deals, and there were many more that I wish I could rock the world with. Jupiter planets, Evil Eye radiating positive rainbows, citrus lemonade squeeze, an extra long blue dachshund dog, banana & magic mushroom delights, there is much feast one’s eyes upon. Free gifts with purchase were also included, featuring Big Bud logo pins, and a bevy of stickers featuring their Crazy Daisies, Why & Die. Ah the circle of life. What goes around comes around. 

Indeed, Big Bud Press has some good karma generating in the underground collective of emerging young artists and designers. With collaborative efforts from Hannah Nance, Twerkstorian, and Yesterdays, there was an incredible show of community from small business owners showcasing their creative work. A standout favorite was Yesterdays‘ Good Vibes enamel pin, an homage to Magic Wand personal massagers that have been casting waves of sensation on the beaches of Women’s pleasure. Yes, please. 

I was especially pleased to meet L.A. based artist, animator, and painter Penelope Gazin, who came out in her finest threads to showcase her unique creative designs. With a macabre sense of dark humor and erotic satire, Penelope’s art features scenes of grotesque horror, sadomasochistic bondage, and alien foreplay. Who could ask for anything more? Gazin’s enamel pins are adorable as they are dark in detail. The Gag Girl pin doesn’t say much, but it would appear she may be tied up at the moment. Slut Profile is green with envy with eyes that spark unspeakable rage into the hearts of those who look upon her. The Bound Double pin is delightful fun featuring a pair of shackled hands with perfectly painted crimson nails. The devil is in the details with delicate tattoo art that suggests this is not her first rodeo. Looking for a one of kind Valentine design sure to make your Lover melt? Seek no further than her curated collection featured on Witchsy.com. Light it up and let the good times roll with a smokin’ bouquet of forever roses in a beautiful Romantic Bong bubbler, sending those magic vibes up to the Goddesses on High. Want to make it a double date? Team up with Big Bud’s Big Buddy pin, a sweet little combo that will make a lasting impression on any green thumb’s heart. And if you’re 110% committed and ready to promise forever, the Gold Lovers Lapel Pin will prove your undying love for one another. Til Death, and the Guillotine, Do Us Part.

Like the Artists who bring them to life, each of these enamel pins offer layers of meaning and depth. Its just a matter of looking into them, asking questions, and allowing your own reflections and interpretations to create meaning. Certainly for a great many matron saints who showed up to support Planned Parenthood and working artists, enamel pins and political pressed buttons still corner a creative place in the do it yourself market. Young people are passionate about their flair, and are unabashedly unafraid to wear their socio-political, sexual, and spiritual beliefs on their sleeves. Its inspiring to be in community among people who organize around fashion and design, and at this particular moment in time, we are consciously committed to a fiercely Feminist economy that trades and barters outside the capitalist consumption. Not only are these artists & creators sustainable, but much of the merchandise offered is produced and manufactured in the United States. So when you buy local in Cali, you’re money is going back into the pockets of American Women. And that feels real good to me.

Cover Photo: Big Bud Press Instagram

Fun, Flash & Flair: Sweet Nothings for a Righteous Love Something good is happening in Glassell Park. On a quiet full moon night, outside the margins of inner city Los Angeles, …