Many opinions, a few biases.
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Spreading the K-pop silliness is less fun than usual in light of recent events. My understanding is that few actually in Korea are in the mood right now.

The above song I first heard years and years ago (the Pop World Cup is only accepting songs produced after 2010, otherwise I would’ve put it up for play) but for some reason I’ve had it in my head lately. Here’s the pre-chorus, with a (rough) translation:

Alors malgré nos yeux fermés
Et nos coeurs qui portent un voile
Je voudrais voir les cavaliers
En regardant les étoiles.

(Even with our eyes closed / And our hearts hidden under a veil / I’d still like to see the cavaliers of old / While they’re looking at the stars.)

Grooves N Jams: The Zine

groovesnjams:

We’re super excited to announce that Grooves N Jams now has a companion zine! This is a project over a year in the making, an outlet for all our longer ideas. Issue One features DV on his Universal Covers Theory with part one of an article called “Beneath the Covers” and MG on the under-underground of post-punk with “Silicon Teens Are From England (The Pulsars).” There are original illustrations by Bridget Harrington and #rare Hannah Montana stamps, plus a glittery pop cover and hand stitching. The zine is available IRL at Quimby’s in Chicago and online through Etsy. We’ll be featuring the zine here next month, just in time for you to start getting excited for Issue Two. 

(via katherinestasaph)


Grégoire Colin"What I love about working with Claire is that she lets the actor imbue the character with everything he is at a given moment. She never gives orders; she offers a critique of what she’s seen."
Jim Jarmusch"Her films can be very poetic, but they’re never precious. They can be very funny but never silly or dumb. Somehow they remain observational, always. And the camera, it’s like music that never has extra notes in it that aren’t needed."
Isaach De Bankolé"I met Claire a long time ago, back in 1987 when she was about to do her first feature Chocolat. When I read Chocolat, I was surprised that it was written by a white girl from France. When I read it, it sounded like someone who really knows how the blood circulates in the African body. She leaves a lot of room for input and improvisation but at the same time, she really knows what she wants… I’ve been very blessed to meet these people and to work with them because they have a special vision, whether it’s Claire Denis or Jim Jarmusch. When they write for the black they don’t write because they’re black they write for the character and that’s the difference between them and many other directors. It’s a pleasure to work for a director who has that vision and who can at the same time have trust in me.”
Alex Descas"I think that she has a great attention to detail and a very particular way of filming and shooting. She tries to capture everything from the décor to the character’s precise body movement… but also gives actors the freedom to interpret their characters. One might even say that in her own way, Claire is a choreographer."
Chiara Mastroianni"Despite the violence or the despair of what she’s shooting, the way she shoots it is always with love. Even when Claire gets really dark, there’s so much light in her."
Agnès Godard"Claire has a very honed relationship with the images that has evolved over time. She has the faith and the belief that an association of ideas that’s concise and that is based on pure cinematography—the choice of a frame, a focal point, the climate of the light—says something, and the idea that gluing those images together is going to create a sense."
Isabelle Huppert"The way she works is the way she lives. Working with Claire, you have to be really available—you have to let yourself go into her rhythm. She’s very creative. She’s like a painter. She gives me the feeling that she has a vision and you have to be the witness to that vision. You don’t want to ask her too direct questions—’Why do you do this?’ ‘What do you have in mind?’—these things I would never ask her. You just have to trust her and follow her."
Stuart Staples"When we made the music for Nénette et Boni, we made it like a band watching a film and then decorating it, giving it texture. A few years later, on the next film we worked on, I said to Claire, ‘I’ve realized I don’t really know how to make music for films,’ and she said, ‘That’s all right, I don’t know how to make films.’ I think that has been the basis of our work together—fundamentally we don’t know what we are doing, but we do know what we hear, what we see and what we feel, and we take it from there. Claire is always looking for a reaction to what she is making—she gives people she works with the freedom to appraise what she is doing.”

Grégoire Colin
"What I love about working with Claire is that she lets the actor imbue the character with everything he is at a given moment. She never gives orders; she offers a critique of what she’s seen."

Jim Jarmusch
"Her films can be very poetic, but they’re never precious. They can be very funny but never silly or dumb. Somehow they remain observational, always. And the camera, it’s like music that never has extra notes in it that aren’t needed."

Isaach De Bankolé
"I met Claire a long time ago, back in 1987 when she was about to do her first feature Chocolat. When I read Chocolat, I was surprised that it was written by a white girl from France. When I read it, it sounded like someone who really knows how the blood circulates in the African body. She leaves a lot of room for input and improvisation but at the same time, she really knows what she wants… I’ve been very blessed to meet these people and to work with them because they have a special vision, whether it’s Claire Denis or Jim Jarmusch. When they write for the black they don’t write because they’re black they write for the character and that’s the difference between them and many other directors. It’s a pleasure to work for a director who has that vision and who can at the same time have trust in me.”

Alex Descas
"I think that she has a great attention to detail and a very particular way of filming and shooting. She tries to capture everything from the décor to the character’s precise body movement… but also gives actors the freedom to interpret their characters. One might even say that in her own way, Claire is a choreographer."

Chiara Mastroianni
"Despite the violence or the despair of what she’s shooting, the way she shoots it is always with love. Even when Claire gets really dark, there’s so much light in her."

Agnès Godard
"Claire has a very honed relationship with the images that has evolved over time. She has the faith and the belief that an association of ideas that’s concise and that is based on pure cinematography—the choice of a frame, a focal point, the climate of the light—says something, and the idea that gluing those images together is going to create a sense."

Isabelle Huppert
"The way she works is the way she lives. Working with Claire, you have to be really available—you have to let yourself go into her rhythm. She’s very creative. She’s like a painter. She gives me the feeling that she has a vision and you have to be the witness to that vision. You don’t want to ask her too direct questions—’Why do you do this?’ ‘What do you have in mind?’—these things I would never ask her. You just have to trust her and follow her."

Stuart Staples
"When we made the music for Nénette et Boni, we made it like a band watching a film and then decorating it, giving it texture. A few years later, on the next film we worked on, I said to Claire, ‘I’ve realized I don’t really know how to make music for films,’ and she said, ‘That’s all right, I don’t know how to make films.’ I think that has been the basis of our work together—fundamentally we don’t know what we are doing, but we do know what we hear, what we see and what we feel, and we take it from there. Claire is always looking for a reaction to what she is making—she gives people she works with the freedom to appraise what she is doing.”

(Source: strangewood, via aintgotnoladytronblues)

femmedandy:

sammierie:

Judith Butler’s “Gender Trouble” explained through cats.

Fabulous. 

(via cto168)

INFINITE

—추격자 (Instrumental)

darknessatnoona:

horanroundwitharmie:

MY NEW RINGTONE

forget ringtone, i will be dancing to this on the bus tomorrow probably

(Source: boys-bangtan, via noonaifyounasty)

(Source: michelle91lee, via aerintine)


The Celebrity Magazine Scans by LIKE | DO NOT EDIT 

The Celebrity Magazine Scans by LIKE | DO NOT EDIT 

(via fyinfinite)

(Source: kyarypapa, via whelmish)

persephonebasilissa asked: [Last night my husband....] When my sons were in their early teens, I told them that my most basic definition of a man was "someone who takes care of business without complaint or self-pity." That's what I wanted them to aim for in life. As I pondered the definition of a (good/proper/complete) woman, I thought the same was a decent starting point, but that something needed to be added -- like supporting or comforting others. Then I wondered: is it fair to expect more out of my own gender?...

[cont’d] … Wouldn’t I want men to also support and comfort others? Then again, is that really integral to what we as a species have most needed men for? Maybe women have, over the course of millennia, been most valued for their ability to support and comfort those around them. Maybe that’s the base? Maybe it’s only in modern society that we have the relative luxury of mixing, matching and switching these roles to suit the desires/needs of ourselves and those around us….
 (A reply to this.)
It goes back to your definition of what it means to “take care of business.” We don’t think of men who take care of children and housework “without complaint or self-pity” as more “manly” than men bellyaching while working out of the house, as a society, though we should.
My husband and I have a more “traditional”/stereotypical gendered split of the work due to a combination of factors, some we could have predicted (it was easier for me to take a break from grad school than for him to leave his career; I breast-fed both kids, which made it harder for me to leave them for long periods when they were younger) and some that were more happenstance (he’s in a hot field right now; if he’d also wanted to go into academia, our situation would likely be very different). But his definition of a good father includes tenderness. He took a week off work to take care of the girls when I wanted to spend the anniversary of my mother’s death with my grandmother in Florida. He has bath-and-bedtime-stories duty every other night.
I don’t know a lot about how gender roles get formed and reinforced, although I suspect it has a lot to do with employment flows. (As an aside: the Grand Narrative on employment rates by gender and media coverage of a “backlash” against women in Korea.) I suspect over time there’s been much more variation by place and home as to how men and women are “supposed” to behave than is contained in the larger, more simplistic narrative.

(Source: shineemoon, via aerintine)


do not edit. | © lovelychan
do not edit. | © lovelychan

(Source: fuckyeahb1a4)

(Source: chaootic, via adhd-in-orange)

rapunzelie:

do you ever feel like there’s just so many pretty girls but most dudes are just subpar like there are radiant goddesses everywhere and just piles and piles of guys in backwards baseball caps and sandals

(via georgealwaysjuicy)

With regards to my last post: so Katherine wrote a thing about the recent Poptimism Skirmishes (it seems silly to call them “wars”) wherein she made the point that all this sniping about an overflow of pop-concentration in music criticism would make more sense if the pop-concentrators were actually able to make a damn dime. (She has since taken her original post down, so I’m paraphrasing; if wrongly, someone please thump me over the head and make me edit.) Ann Powers and Carl Wilson came to the conclusion that “the poptimists have won” by passing back and forth names of exceptions to the rule:

But that glimpse is deceptive. Look at the actual music-criticism world, and you’ll see is right about one thing: Pro-pop forces dominate. There’s you at NPR, me at Slate, Jody Rosen at New York magazine/Vulture, Jon Caramanica and his colleagues in the NYT proper, Sasha Frere-Jones at The New Yorker and more at nearly every other prominent mainstream venue you could mention. Even Pitchfork, once a redoubt of indie-rock obscurantism, now devotes generous space to dance, pop, hip-hop and other forms.

That “the actual music-criticism world” consists of NPR, Slate, New York, the Times, the New Yorker, and Pitchfork — I admire Ann Powers, but that is skewing the sample to an unfortunate degree.

My original intent, when I saved Katherine’s piece in my drafts three days ago, was to say, “How do we solve this problem?” — “this problem” being intelligent criticism of pop music being a money-losing proposition for all but an extremely small number of lucky souls. But looking at this brings up the related problem of, how do we enlarge the number of outlets that can be established enough to (a) influence the larger dialogue and (b) pay their writers?

(A side rant: I once wrote for PopMatters. No, really. Then I got into a tiff with the then-editor, and quit in a righteous huff because, after all, they weren’t paying me, even though they expressed the hope they would be able to someday. That was 2001, I think. They still ain’t paying.)

I want to say, perhaps overoptimistically, that part of the solution will come from piecemeal turnover: Schumpeter’s creative destruction as applied to publishing. Two other women I admire, Maura Johnston (maura) and Nicole Rivera (noxrivera), just overcame significant but temporary obstacles and restarted their digital platforms this month — Maura Magazine and Pop Reviews Now, respectively. (For those wondering, I believe the former pays contributors and the latter does not.) The Toast turns a profit, and y’all know I am all about gaining greater power and influence for The Toast.

I say “only part” because freelancing is precarious; having more places to send pitches to makes it less precarious but not altogether safe. The bigger part is the relationship between the social safety net and commercial risk-taking: the fact that it’s easier to “do what you love” and “follow your dream,” etc., etc., with health insurance in hand. Unfortunately, at least in the United States, the call-and-response of “Because SOCIALISM!” isn’t going to allow for much progress there.

Why We Fight About Pop Music →

This is Ann Powers and Carl Wilson talking about poptimism / patting themselves on the back a bit about poptimism / concluding that the poptimists have won. But my definition of “the poptimists have won” at this point is katherinestasaph having decent health and dental insurance and spending money left over — more on that in a moment — so I can’t say I agree with them.