imo it’s not enough to say “stop whitewashing asian roles” it’s also important to say stop fucking plucking stories out of their eastern origins and repackaging and recontextualizing them for a western audience for money, period. this ghost in the shell movie isn’t just going to be shit because white people are playing the leads, it’s also going to be shit because the script and adaptation and production were all overseen by what i’m sure are overwhelmingly white american filmmakers. the REASON these films are so white is because they want them to feel white, western, etc. and sadly, i think you could pluck out all the leads from this movie and replace them with asian actors and you’d only be fixing the most visible part of the problem. 

Warboys don’t need more than five minutes of outside input to leave their death cult behind and make their lives count. Even being an object can be a source of power, in certain circumstances (and a lot of the strongest moments are about that, which is one of the most insane tricks in the whole thing).. 
But most beautifully of all, the recontextualization of masculinity as protective and nurturing–without giving anything up. Because our idea of sacrifice only exists IN a zero-sum: if I give, that means you take. But the highest purpose for a man (in a story like this; also, period) is to be a Universal Donor: Capable of giving life, without losing any of his own.
And so I feel like if there’s a feminist message, or subliminal worldview, beyond the obvious stuff, it’s that: You can live without hurting, or taking, or exerting pressure, or making alliances or creating violence, and it costs you NOTHING to do so. That is fucking powerful.
And I can see it being terrifying, too. If you’ve been forced out of believing that a life like that could ever be available to you.
The why-do-you-keep-forgetting-us-members-Jun? segment

As Keisuke and Jun mention that they meet recently at stores (sometimes for drinks), Ohmiya find it important to express disgruntlement on behalf of the members.

Nino: It appeared!  It appeared!  The store where celebrities gather has appeared!

Jun plays innocent with a what-can-I-say smile.

Satoshi: So celebrities will definitely be there?

Jun: Not always, but it will usually consist of directors of commercials.

Satoshi, Kazu and Sho mentally pout and wonder why our youngest leaves them out of the fun. (LOL)

Sho: So do you (Jun) run into any celebrities by coincidence?

Jun: I met with Matsuda Shota for meals… after a long while…

Sho (barely restraining the envy leaking out): That’s 2 out of F4 (from Hanadan) you know~

Jun: … and when we entered the restaurant, we ran into Kinashi Noritake-san who was already there.

Ohmiya: Eh~ Where is it (that you go to)?  That’s why we asked you before…

Jun: Even if I were to say let’s go together, you wouldn’t go anyway right?

Kazu (softly to Satoshi): You go on and tell it to him.

Satoshi: (We’d / I’d?) Definitely go~

Jun (laughingly): You so would not~

Riida’s expression is too cute and causes everyone to erupt with laughter! LOL.

Arashi ni Shiyagare 08.08.2015

Okay but what if, what if, actually diverse Vampire Chronicles. Because it’s kind of never not disappointing as I get older that these books with a cast spanning history and the globe are all notably Beautiful Pale People (EVEN THE ANCIENT PROGENITORS FROM AFRICA FFS. YES, MAHARET AND MEKARE SURE ARE ALABASTER REDHEADS. NO FRECKLES OR ANYTHING. Hell, even Akasha…..the only WOC in the trilogy and also the misguided villain….is bleached out by the time she wakes up in the present). 


Louis, the illegitimate son of his (never mentioned) Plantation Owner Father and one of the women working in the mansion; the only one technically able to take over the household after his (blond, blue-eyed) brother Paul’s death and the amount of quiet and not so quiet resentment heaped on him from all sides

Lestat, a free black man in Paris drawn there because any artist could make it there if they were talented enough, totally in awe of Dumas’ success even if he couldn’t read any of the books. Lestat flaunting his wealth in the New World half as a way of daring the scandalized society around him to do something about his status as a free, mobile man. Lestat reading Nat Love instead of Sam Spade when he was holed up in the 20s.

Gabrielle, brought over from the colonies of Seychelles as nothing less than a prize, bitter at her cold alien surroundings and the way she’s looked down on as some kind of “savage” even if no one will really say it (they just turn up their noses at the “disgraced” de Lioncourt name instead). Also wouldn’t it be nice to not have the extra horrific implications of her “I will be a goddess to those I slay” statement when she leaves Lestat. 

Claudia, a little Creole girl considered an acceptable sacrifice in quarantining and shutting off the plagued slums, with a cloud of dark hair Lestat absolutely refuses to let Louis straighten (in an attempt to make life “easier” for her). Seeing her fellow women devalued and yet still longing for the adulthood she’d never have, it’s no wonder she was filled with a desire to take vengeance on the world. 

Armand, stolen not by the Ottomans but by wokou raiders from his coastal home in Fuzhou (a supremely bitter irony given the Ming Dynasty’s general abolishment of slavery) and sold on the basis of his “exotic” appeal and youthful features. Struggling not only with his eternal youth but his perceived subservient status in his pursuits, forced even more to work behind a front in order to be taken “seriously.” 

Lin-Manuel Miranda quotes from the 1969 Tony-winning musical 1776 in his current hit Hamilton, and has acknowledged being inspired by the earlier musical. Now the influence appears ready to go the other way.

Included in the audition notice for the upcoming 2016 Encores! concert revival of 1776 is the specification that “This will [be] a completely multi-ethnic production.”

The Broadway original, which starred William Daniels as John Adams, was cast entirely with caucasian actors, reflecting the actual ethnic makeup of the Founding Fathers. However Hamilton, which has at least one character in common, Thomas Jefferson, uses a multi-ethnic cast to recontextualize history for modern audiences.


Class is cancelled, but I can’t stop thinking about authorship, y'all.

When we were discussing authorship, our professor brought up the copyright dispute over a monkey selfie. Since the photograph was taken by the monkey and not by the human photographer, the picture appears on the photographer’s Wiki page with the caption:

This file is in the public domain because as a work of a non-human animal, it has no human author in whom copyright is vested.

External image

So, who should really get #credz for the photo? The monkey who pressed the button, or the human owner of the camera who set that action in motion?

Along the same lines, I’m really, really into the NYC musician/producer Nick Koenig, better known as Hot Sugar. Koenig is known for making music from everyday sounds, a process he calls associative music.

The melody of his song “Rat City" was created by Koenig letting his pet rat scamper over his piano keys. With authorship in mind, was this song more of a collaboration than an original production? Is recontextualization and creative curation enough to constitute complete creative credit? Is creative credit an exclusive human right?

And, in the modern era, will creativity be more like the first book of Genesis than the first book of Harry Potter? Instead of creating worlds with linguistic bricks, will we be setting things up to create on their own? So, in that sense, is Kenny G correct? Will the creative writers of the future be more like "programmer[s]” than “tortured genius[es]”?

Happy sno dai <3

So, Remembrances really contextualized the Makorra relationship from Mako’s perspective. We got a bit of poking fun at the love triangle and finally we see it put into words that Mako was not a “two-timing cheating guy” but a confused, young guy. IN CANON. NOT JUST COMMENTARY.

“I had to figure out who I was without a lady in my life.” - Mako

And yes, this was a clip show and Mako told Wu because he asked. But why did Wu ask (because duh they wrote it). There has been a lot that has happened in the series that could have possibly be recapped, but they chose to recap the love triangle and how Mako felt throughout. Especially since after seeing Varrick’s story, they could have just made the episode entirely something silly (and wonderful I loved it) like that.

I’ve always been someone happy to see Makorra as canon or not at the end, but after this recontextualizing, I can’t help but feel like we are going to see their relationship dealt with in some fashion. We see that Mako has been working on finding himself, and he still is inspired by Korra. There is a high possibility there are still feelings there.

I feel that way about the Bopal relationship too. They’ve reminded us that Bolin and Opal started with this sweet relationship, only tainted by Bolin being naive about Kuvira which he now realizes.

This is of course assuming that they tried to make the clip show relevant to the story. Because the other side of the coin is that they just recapped it because they could.

But I think we need to give Bryke more credit as storytellers. They pulled together a fun episode on a shoestring budget; I have no doubt they could make such a story really relevant to the rest of the story to come.

I’m bad at meta someone good like bob and ikkin can say this again 110x better


We support Fair Use of our music!

We were upset to find out that a lecture by Professor Lawrence Lessig titled ‘Open’ was removed from YouTube without review, under the mistaken belief that it infringed our copyright interests.

This lecture about Fair-Use included -as examples- bits of spontaneous fan videos using our song Lisztomania.

Not only do we welcome the illustrative use of our music for educational purposes, but, more broadly, we encourage people getting inspired and making their own versions of our songs and videos and posting the result online.

One of the great beauties of the digital era is to liberate spontaneous creativity - it might be a chaotic space of free association sometimes but the contemporary experience of digital re-mediation is enormously liberating.

We don’t feel the least alienated by this; appropriation and recontextualization is a long-standing behavior that has just been made easier and more visible by the ubiquity of internet.

In a few words:
We absolutely support Fair Use of our music,

and we can only encourage a new copyright policy that protects Fair Use as much as every creators’ legitimate interests.


the funny thing is that I don’t personally think trigger warnings per se would be that helpful to me! as most of these theorists have taken from the writings of actual survivors and people with ptsd and then recontextualized to harm those people pointed out, triggers can’t be mapped in any clean way. I always tell the story about how in the Ruth Wilson Jane Eyre I watched in a feminist theory class Mr. Rochester says something that was exactly what I had heard, you know, in a terrible situation, and I freaked out and spilled my coffee in the middle of the room. that is how it works! you can’t trigger warn for those things! how could you know? that’s the argument they want to pretend that they are making: how could I know that you’re triggered into panic and flashback when you hear a certain song or see an image of hipbones or whatever thing it is? triggers are, according to them, completely random. how could they know?

except they know because people are telling them and they are still refusing. and anyway, obviously, “triggered by Mr. Rochester” and “triggered by sexual violence that statistically a huge portion of your students experienced” are discernibly different categories which is what they are obscuring. they should know that a lot of people are triggered by rape scenes because they are grownups and they are getting paid so they should probably try harder. most universities, especially large public ones, will have at least a vaguely adequate sexual assault resource contact that can go over the basics with them, 1 in 4 or whatever. the least they could do.

but I mean, keep unpacking it: are these really all just scenarios where something “controversial” would be offhandedly mentioned in an assigned reading in a class already established to have controversial content? (a course about sexual violence. a course about the holocaust. a class in a women’s studies course identified on the syllabus as being about rape culture.) because I think that’s misdirection, don’t you?

what are we really looking at? probably fucking being asked to watch last house on the left in a semiotics class or some stupid shit. there is theorizing of trauma, there is teaching the practice of responding to trauma, there is literature (fictional or otherwise) that describes rape, there are testimonies of violence, there are documentaries of various orientations, and there are art films, and commercial films, and texts produced for market profit literally in all kinds of situations of actual violence, rape, and exploitation. my point: it’s pretty undisciplined for professors, producers in and of the academy, to act like they are not operating within those systems and have no obligation–not just ethically but, like, in terms of being a good scholar–to debrief, frame the source, and be real about parameters. (but if they did that, they would be exposed as Consumers, god forbid.)

I have had professors use something like trigger warnings! I took a class on childhood in film and we watched clips from a lot of difficult stuff, of course. Hard Candy, Hound Dog. and she would say, “this is what goes on in this scene” which, like, you should be framing your lessons anyway, right?

my chicano history professor worked on research about lynchings of mexican-americans in the nineteenth century and we read some pieces about this and when he introduced them he said something like, “there are some graphic descriptions in here” and then also said a few things about how important it was for him to talk about violence as violence in a class like that.

they were basically just…reasonably good instructors and scholars and not interested in being exploitative if they didn’t have to be. I mean, I also had a (white, unsurprisingly) professor of modern Mexican history show us color photos of Mexican victims of rape or decapitation in border towns, just, like, photos of their bodies, without warning or any sort of reasonable context, as powerpoint graphics. I hope that illustration brings out what I’m trying to say here about good teaching and exploitation and how it’s not just a matter of a good non-exploitative teacher just not using exclusive “politically correct” lingo as much as it is about some professors pretty obviously not caring that they make their money reproducing harm. (no, I don’t mean “harm” in the affect theorist way when I am talking about a white professor researching the drug wars without caring if he upsets his Mexican students. I mean, you know, “exploitation” and “oppression” and in this case “white supremacy.”)

I will restate the most obvious: people don’t request trigger warnings because they want to silence discussion of rape, they request trigger warnings so that they can discuss rape. “hey, we’re gonna talk about rape,” ok cool, let me prepare or whatever. people who are survivors of rape very very often want to talk about rape. people who might be triggered by discussions of child sexual assault very often take social work and women’s studies classes, or whatever, because they want to, because they want to participate, they want to help and they want to talk about it and, yes, believe it or not, think about it, theorize it, deconstruct their assumptions about it.

what we’re looking at is students who identify as survivors of trauma (etc.) organizing to make it easy for professors to accommodate the learning–yes, learning!–needs of a big portion of the student body. (and, I should say, they are often the same students organizing for more effective response to and prevention of on-campus rape, which is kind of a big deal nationwide and I think some of these professors should maybe be paying more attention to their campus politics or whatever.)

these theorists are literally only mad because they’re being asked to do something they didn’t think of doing first, because they really really don’t want to give up authorial curricular authority, because they’re mad that their position in (to steal Pritch’s phrasing) the neoliberal university is being exposed for what it is, and maybe most of all because if they can use Social Media to Take A Stand against the Reactionary Institution they can maybe try to obscure this structure of domination a little more and also feed their ‘68 complex.

and the funny thing is I’m not even mad about this because I require trigger warnings, necessarily. (I put myself into triggering situations all the time, a bit of a glutton for panic.) I’m mad about it because I’m not a stupid asshat and also, let me say this as many ways as I can think to say it, I am concerned more than anything about “accessibility” as a thing that operates on all kind of axes and should be prioritized if the institution wants to “reform” or “become better” or just even begin to pretend that it’s not a shithole industrial complex that should probably be looted.


Zombie Garage Punks Never Die: Why a Compilation of 60s Teenaged Rage Is the Best Album of the Year

Every Back from the Grave record begins with its jacket art, and it always tells the same sort of story: A bunch of zombie punks are reanimated to rid the world of the squares and douchebags that have turned it into an ugly place to live. It’s a revenge fantasy, the cartoonish destruction of the last few decades of American music and culture by the spirits of the past, and it’s hard not to take the side of the axe-wielding zombie punkers.

Nowadays, in an era when everything that has ever been sung, spoken, ukuleled, painted, collaged, or crafted has been recycled, recontextualized, cool-branded, and downloaded, I often feel that the old world wants some sort of vengeance on the new. The mass market is full of the reverberations of bits and pieces of the culture of the past that come to the present watered-down, commodified, regurgitated. The Urban Outfitters version, the shmuckification of the counterculture one retro T-shirt at a time. The garage punk zombie teens on the Back from the Grave LP jackets know all this, and they are pissed off. Tim Warren, the man who has been compiling these genius assemblages of primitive American shit music for the last 30 years, is pissed off too.



Fancy Dress Costume by Paul Poiret

France, 1911

Met Museum

Early in the twentieth century Diaghilev’s Russian dance company, Ballets Russes, performed in Paris—reigniting the taste for orientalism in Europe with its exotic sets and costumes. As this ensemble illustrates, Poiret excelled in recontextualizing western dress with fantastical eastern influence. He was also a maverick modernist in creating a stir, taking promotion of his inventive ensembles to new levels with his infamous spectaculars. This fancy-dress ensemble was made for and worn to Poiret’s 1002nd Night party in 1911, which was designed and organized to promote his new creations in the full splendor and glamour of the orientalist trend.


Francesca Pastine

In my Artforum Excavation Series, I recontextualize content and subvert it in order to insert myself into larger global narratives. My manipulations map out a tangle of associations, unique contradictions and paradoxes through curious juxtapositions.  I consider my interaction with Artforum magazine as a meditation on materiality which results in a palpable complexity between form and information. (via)

Things I really hope to see out of a Jasper reform arc:

  • Jasper potentially dealing with a sense of guilt or shame that she wasn’t strong enough to prevent bad things from happening to Peridot, or her hiding her own issues because she wants to keep being the superhero figure Peridot sees her as 
  • Related to the above, Peridot gradually discovering Jasper’s vulnerabilities and struggles and having to recontextualize her relationship with Jasper not just as someone Peridot can rely on to solve problems, but also someone that might need help, and someone Peridot might be able to help.
  • Jasper evoking body language that mirrors things we have seen Amethyst do.
  • Jasper having issues like PTSD or anxiety, and the idea of strength and mental illness, “you’re strong because you keep fighting, it doesn’t mean you’re weak if not every day is easy”. This being addressed and worked with on screen in a sensitive manner.
  • Tying in with the above, Jasper being protective over Peridot and Peridot’s trauma because she empathizes with it and wants to be there for Peridot in a way that others may not have been able to be there for Jasper in the past.
  • Potential parallels between Jasper and Pearl re feelings of inadequacy and a desire to inspire and feel admired by the people around them. 
  • Jasper and Peridot having genuine bonds and this being really dang cute. 
  • Jasper coming to terms with who Steven is, processing her history with Rose, and possibly grieving the loss of the sense of closure she seems to have come to Earth in search of. If quartz mother theory, possibly a sense of solidarity between Steven and Jasper.
  • The grand untangling/processing of Jasper and Lapis and the things that happened between them. 
The existing body of scholarly writing about RPF has tended to focus on RPF as an ethical gray area (McGee 2005; Arrow 2013; Thomas 2014), a fan practice that interrogates the constructed nature of celebrity and the ways fans similarly construct their own online personas (Busse 2006a, 2006b; Arrow 2013), and an increasingly complicated practice for fans to navigate and maintain the fourth wall as celebrities perform public versions of their private selves on social media (Hagen 2015). A recurring point of consideration in both scholarly work and fan debate about RPF is whether fan fiction based on a real celebrity dehumanizes its celebrity subject or whether the subject of RPF is a textual public persona that is significantly distanced from being a “real person.”
—  Piper, Melanie. 2015. “Real Body, Fake Person: Recontextualizing Celebrity Bodies in Fandom and Film.” Transformative Works and Cultures, no. 20.

Direct struggle against capital: A Peter Kropotkin anthology

This is the most extensive collection of Peter Kropotkin’s writings available in English.

Over half the selections have been translated for the first time or salvaged from long-out-of-print pamphlets and newspapers. Both an introduction to classic texts and a recontextualization of Kropotkin from saintly philosopher to dangerous revolutionary, Direct Struggle Against Capital includes a historical introduction, biographical sketch, glossary, bibliography, and index.
Published by AK Press who are always happy to have donations from people who like what they’re doing.

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when i watched the phantom menace a month or two back i actually kind of enjoyed it and had a fun time and i was trying to figure out how that could possibly be and then i realized it was because due to the sith lord jar jar theory i was delighted and laughing out loud every time jar jar was onscreen… recontextualizing jar jar saves the prequels

I was fucking excited for The Killing Joke. I’ve been looking forward to the movie for months. At first I was just moderately interested, because Kevin Conroy and Mark Hamill together one more time? Yes please. Then the reports that they’d be “expanding Babs’s role” came. And my excitement jumped through the roof. The chance to recontextualize one of the defining moments in Barbara Gordon’s life as HER moment, not just tragedy porn? The chance to view it through the lens of hindsight with the knowledge of what it would bring later on, the chance to make it her tragedy and not Bruce’s, not Jim’s? The chance to, if not justify, at least explore more thoroughly what amounts to extremely distracting and cheap shock value in an otherwise complex and well-written story? Yes, please. And now… This. This is what they gave us. I’m so hurt and disappointed.