novice Buddhist, expert neurotic. writer. aspiring adult.
sophcw at gmail dot com
Photo reblogged from with 350 notes
We have the same shoes. : )
H∆SHTAG$ - Don’t Call It #Tumblrwave - Episode 5
This is possibly the first GOOD intro/exploration of the whole “what are these kids doing these days” aspect of tumblr culture, and surprise surprise, its actually the artists talking instead of journalists. I just really wish it was longer.
Some of the best insights in the vid (imo) are from Gucci Goth and Molly McMahon. I also like the point about tumblr allowing people to make new culture, even though 99.9% of tumblr artists just collage and rehash the past to make an aesthetic thats the web equivalent of a post-apocalyptic look made up of things we ourselves already recognize. however those people already have the context of what-it-is rather than not knowing what it is, which gives the pretext of knowing what they’re doing isn’t “new” or even quote-unquote-new, necessarily. Auerbach DOES mention seapunk as a good example of that, and imo i’d narrow it down to Kevin Heckart’s visuals ( tamagotchifuneral.tumblr.com ) because his stuff is in reference TO the 90’s, but its not quite FROM the 90’s. theres very seldom use of straight up digitized wingdings or cursors and other ephemera of typical “kids in their bedroom making net art”.
It also brings up the issue (vaguely) of the situation brought about by having high exposure of low quantity genres and artists very quickly. This sort of forces the bubble to pop before it has left the bubble wand, in a way. Not quite tumblr (and not exactly the identical problems) but Azealia Banks is probably a good example of this. Granted, she’d probably be twice as far along if she actually had some tact, but the massive exposure garnered after one single also had some impact. And arguably vaporwave had that happen as well (assuming you consider it a genre at all).
This is really great.
Very important philosophical soliloquy: Is It Too Late for Seapunk Ponchos?
It seems to me that we laugh at the internet at our peril. Sure, it’s easy to scoff at seapunk, with its obligatory hashtag and its thalassic lexicon and its general air of being a big ol’ internet in-joke. (Indeed, we’ve been as guilty as anyone of doingexactlythat.) And more generally, it’s easy for critics of a certain vintage to assume that anything internet-based is transitory and lightweight and concerned with pictures of cats and not Serious Culture.
This is largely short-sighted and unwisely elitist. While it’s difficult to argue that anyone in 2050 will be looking fondly back at the halcyon days of seapunk as 2012′s crowning cultural glory, they’ll certainly be looking back at the glory days of something, and your guess is as good as ours as to what that something might be. One of the interesting effects of the internet on culture in general is that it’s both more connected and more fragmented than it’s ever been in the past. As our own Sophie Weiner argues here, seapunk touches on aspects of internet culture that are a lot more interesting than it is — and, just as importantly, these seem to be genuinely new things in an era where the genuinely new is more elusive than ever.
Video with 36 notes
Silent Drape Runners - New Vibes (resoundtracking The Little Mermaid)
I was sitting in a bar, on my way to see Balam Acab perform at a college show billed as a “Goth Prom.” We’d dressed up for the occasion - because hey, we like dressing up. Three of the people in attendance were in their late 20’s/early 30’s, and one was my age (22). We soon amusingly realized we were in a “punk bar” as kids with mohawks and ripped leather jackets started pouring in from the Harlem street, seemingly teleporting from the late 70’s, and suddenly our all-black attire set us in some heightened new wavers versus punk kids movie scene that I would be way too young to remember.
Even weirder - my bandmate was telling me about this new internet subculture/”music genre” he’d just discovered, and thought might vaguely describe the stuff we were starting to recognize as the art project our band was becoming. One of the non-punk kids who was playing pool overheard us and looked up, genuinely disturbed: “How the fuck do you know about seapunk?”
This was almost a year ago. #Seapunk became a big inside joke among my group of friends (both online and off). A lot of our jokes, though, tend to make their way into our reality. It’s more fun to appreciate things than to hate them, and I like playing around with new aesthetics styles, trends, slang, images, and seeing what meaning I can wring out of them. My band could be said to be part of the group of artists who were offended at Rihanna’s visuals on SNL this weekend. Seeing these images on TV, for such a massive audience, though surreal, didn’t surprise me. I work at a “trendy” media company, and I know many of the people I know who engage with internet culture do as well. It’s obvious how these ideas quickly spread from some teenager in the midwest to designers at big brands and pop stars stylists. This has been happening forever, now it just happens faster.
A month or two ago, a friend of mine (who also happens to do my band’s visuals) “joked” that seapunk “wasn’t a thing” anymore. I’m not sure if that’s a statement worth making - it’s as much a thing as it ever was. But I think he has a point - the variety of aesthetic tropes that make up #seapunk; net art, “new aesthetic,” witch house, et. all; are beginning to coalesce into something different and bigger, something that I am beginning to believe in. I’ve been attending the #TOP8 FRIENDS parties at 285 Kent in Brooklyn for the last few months. All these ideas/aesthetics are definitely present there - but are combined with blatantly subversive gender presentations. Think Party Monster meets Paris Is Burning for the social media generation.
I know some of you are feeling an urge to vomit. It’s ok to not be interested in this stuff, but I personally can’t get enough of it, both from a sociological and participatory perspective. This is the future, or part of it. A few years ago, in his essay wrapping up the first decade of the new millennium in music, Nitsuh Abebe wondered what was coming next for underground music culture. This last year has been the first time I’ve felt a glimmer of newness in culture since I began caring about it. Yes, there is a lot of recombining of older ideas (rave, new age, ball culture, drag, 90’s nostalgia), but I think what is emerging can be argued to transcend its influences. I think, I hope, it’s helping to open people up to exploring and examining the virtual world we now spend so much of our time inhabiting, and the fluidity and range of human experiences that can exist within and without it.
This will be fun/silly/full of shit I am def ordering from Oriental Trading.
I had never used this site before today.
saw an actual seapunk dude in line at the supermarket yesterday
Ok with Peter Hughes Tumbling about #seapunk I’m pretty sure we’ve reached the singularity (at least for my life).
Page 1 of 5