“Introducing: Divorcee, the new project from Yoni Wolf and his ex-girlfriend Anna Stewart. With their self-titled debut EP, the WHY? frontman steps out of the spotlight to craft all the music himself, while Stewart sets her brutally honest lyrics to each song.
The six song EP chronicles Stewart’s relationships with men, and is at times a podium for her to proclaim her own perspective about her former relationship with Yoni, a subject well-documented through previous WHY? songs (most notably on the album “Alopecia”). She recounts her relationship anxieties with gut-wrenching honesty and an endearing, confident tone, revealing the feminine counterpoint to WHY? songs like “Good Friday” & “The Hollows”. Her lyrics are impactful, unsettling, and sometimes quite deprecating toward her former lover / new bandmate.”—
Putting this in the press release is… certainly something. (via sleepssundays)
Yeah, there’s this one ridiculous conspiracy theory going around that women, LGBTQ folks, and people of color don’t actually play videogames, and any criticism they bring up is not the legitimate concerns of dedicated fans and consumers, but rather a shadowy crusade by disinterested outsiders to destroy anything fun and make everything “politically correct” - for some as-yet-unknown (but clearly unacceptable) reason.
“Growing up, I didn’t read novels by women. It’s not that I didn’t want to. It’s almost like I didn’t think that I needed to or, I guess, I didn’t know that I needed to. I was perfectly happy in a world contained by men. I adopted the posture of the brooding male as my own. I was Salinger, I was Kerouac, I was any male protagonist in a novel that one of my boyfriends recommended. I didn’t know that there was a specific female sadness so I was content with relating to a generalized one. And in a way, reading these novels was less of a way to relate and more of a way to learn how to be the type of girl that these male novelists liked. One of my first ambitions wasn’t to be a writer – it was to be a writer’s muse.”—Gabby Bess, in Dazed (via electric-cereal)
For Gillis, Pimp C is as legitimate a force as the Moody Blues, and Deee-Lite’s “Groove Is in the Heart” as powerful as Nirvana’s “Lithium”. Wittingly or not, this is utopia. Listen and you will realize that the horniness that both Rod Stewart and Lil Wayne feel is the same. Laugh now, but somewhere outside us, in the great interpersonal cloud we call culture, the needle has moved.
“The problem is that white people see racism as conscious hate, when racism is bigger than that. Racism is a complex system of social and political levers and pulleys set up generations ago to continue working on the behalf of whites at other people’s expense, whether whites know/like it or not. Racism is an insidious cultural disease. It is so insidious that it doesn’t care if you are a white person who likes black people; it’s still going to find a way to infect how you deal with people who don’t look like you. Yes, racism looks like hate, but hate is just one manifestation. Privilege is another. Access is another. Ignorance is another. Apathy is another. And so on. So while I agree with people who say no one is born racist, it remains a powerful system that we’re immediately born into. It’s like being born into air: you take it in as soon as you breathe. It’s not a cold that you can get over. There is no anti-racist certification class. It’s a set of socioeconomic traps and cultural values that are fired up every time we interact with the world. It is a thing you have to keep scooping out of the boat of your life to keep from drowning in it. I know it’s hard work, but it’s the price you pay for owning everything.”—
“But going to the roots of inequality, Firestone believed, was what set radical feminism apart from the mainstream movement: “The end goal of feminist revolution must be, unlike that of the first feminist movement, not just the elimination of male privilege but of the sex distinction itself: genital difference between human beings would no longer matter culturally.””—Death Of A Revolutionary, by Susan Faludi
“Cleveland redoubled her efforts to find better-paying work, studying the job-counselling signs at the probation office. “Women’s Interview Attire,” one poster read, listing items that she could only covet: “Solid color, conservative suit,” “manicured nails,” “portfolio or briefcase.” Another sign, “Top Reasons You Can’t Find a Job,” summed up Cleveland’s troubles: “Lack Confidence”; “GAPS in work history that are unexplained or unaccounted for” (unless “jailed for debt” was a sufficient explanation); “Phone Number Disconnected Often.””—In a time of innumerable fucked up things, this New Yorker piece on for-profit “probation” is probably one of the MOST fucked up things.
When I was growing up, I never considered myself sexually abused. I never thought that I was a victim of that kind of thing—because from what I understood, sexual abuse had to involve actual acts of sex and actual penetration of my body in some way. I never…
“Here, then, is the world (house, sky, a first tentative star) and here is its opposite, this small dark shape in a circle of roses. It’s trash, that’s all. Beauty and dignity were illusions fostered by the company of children, sustained for the benefit of children.”—Michael Cunningham, The Hours
hey johndarnielle why isn’t there a mountain goats song called “going to hell”
there was one, back in the very very early days. there was also a “going to mars.” I really liked “going to mars” but I think maybe “going to hell” did not measure up to the title, I don’t recall anything specifically about it but a loose feeling of “nope, not good enough, let’s just move on.” I haven’t written a “going to” song in God knows how many years (unless you count the unrecorded unreleased written-in-2001-for-Tallahassee song “Going to Federal Prison,” which I don’t) but if I do, which I probably won’t, it’ll be “going to hell 2”
“Defending a position by citing free speech is sort of the ultimate concession; you’re saying that the most compelling thing you can say for your position is that it’s not literally illegal to express.”—xkcd: Free Speech (alt text)
colonialist occupation where the side of the poor, unable to leave or move around, and kept in perpetual instability experience far more civilian loss and casualty is not “a conflict where both sides are equally at fault,” i don’t get why people don’t understand that, ok bai