#and also how much I love this old punk communist couple??

[junogears2]

Me and the loves of my life, 12th and River just because

[fearofahumanplanet]

Updated Intro

My Cluster B-exclusive 18+ Discord server can be found here!

Yeah, so my first intro was Bad and I've gotten so much more involved on this site than I thought I would - so it's time to wipe time and do it all again!

Hello, I'm Jane Doe (not my real name - you'd be amazed how many people think so, but really, it's not). I'm a writer and a mouthy sufferer of several personality disorders, and both of these things have kind of become the focus of this blog (bc I can't help but vent in the middle of the night when I should be sleeping).

General Taglist: @aohendo, @athenswrites, @impaledlotus, @bardic-tales, @carefulpyro, @marinesocks, @writingpotato07, @hey-its-quill

MASTERLIST AND WIP INFO AT THE BOTTOM OF POST

This blog contains NSFW (18+) content - I don't really impose any limits on my writing, and it is and has always been an outlet for my trauma! You have been warned.

THIS BLOG IS AND ALWAYS WILL BE A SAFE PLACE FOR ALL LGBT+ & QUEER PEOPLE, ALL CLUSTER B DISORDERS (INCLUDING NPD & ASPD), ALL DISABLED PEOPLE (PHYSICALLY OR MENTALLY), ANYONE OF ANY RACE, ETC. IF YOU'RE A BIGOT IN ANY REGARD, FUCK RIGHT OFF.

Now that we're through with that...

A Little About Me

I am twenty-one years old & Irish-American, I use she/her & it/its pronouns, I am hella LGBT, and I am a loud & proud anarcho-communist

We are a system that suffer from a combination of severe symptoms from all Cluster B personality disorders, but most severely borderline personality disorder (BPD), antisocial personality disorder (ASPD) and narcissistic personality disorder (NPD). Outside of those I also suffer from dependent personality disorder (DPD), bulimia nervosa + ARFID, chronic insomnia, major depressive disorder, agoraphobia, CPTSD, and am autistic, & with this blog I have decided to make it everyone else's problem :P

I am open to DMs, asks, & tag games at all times! But I may take a bit to get back to you

If you'd like to beta read or just read any of my WIPs, let me know! I usually share PDFs when at least a couple drafts are finished

I have been studying English for about as long as I've lived and writing for about eight years, and I'd like to think I've become pretty damn good at these things. I love beta reading and helping to edit other people's works, so if you have a WIP and you'd like some help, feel free to contact me (ESPECIALLY if it fits snugly into my interests).

Outside of writing, I have a deep love for horror movies & games, video games (especially first-person shooters & roguelikes), HEMA, reading (of course), punk & metal music, snakes & dogs, psychology & philosophy, and staying awake long enough to make inadvised chaotic decisions without a worry. Recommend me music of any kind, please!

I have also devoted almost a decade of my life to studying mythology, theology, history & culture all around the world - I find these things endlessly fascinating, brilliant, and inspiring, and I am always eager to find out more about foreign cultures! If you need any help regarding mythology/theology (basically anything there) or specific parts of history (ask!) feel free to message or ask me!

Stuff Regarding My Writing

I am an all-around speculative/weird fiction writer, though I am willing to try literally anything if the idea intrigues me enough. That being said, almost all of my work returns to horror eventually, as it is my beloved and my most faithful muse. Besides horror, some of my other favorite genres to write include dark fantasy, urban fantasy, historical fiction, noir, & cyberpunk.

My writing style itself is a mix of a more casual style with more complex words & obscure references mixed in. My work tends to be quite bleak & dark in content, as it started as a coping mechanism for my trauma, but I don't believe in grimdark stories and I work to make sure there is always a light at the end of the tunnel, however dim. There is also, very frequently, stylized and detailed gore & elaborate, over-the-top action in my work.

My writing takes a very psychological, character-driven bent at all times - I feel no shame in having simpler plots so that I can focus on the mindsets of traumatized and fucked-up people. Mental health is a primary focus in all of my writing, and I tend to feature antiheroes or legitimate villains as protagonists.

Black-and-white morals are a thing of fiction in my work - with the rarest of exceptions, I strive to discard "good and evil" as constructs entirely and write human beings instead.

I usually write female protagonists and/or protagonists of marginalized & underrepresented groups. Everything I write will have some LGBT people somewhere, it's a guarantee.

Thanks to my areas of study, I also write a lot about mythology & theology - good luck finding a single project of mine that doesn't sneak in a reference to some god somewhere, if not straight up including them. I also really enjoy ancient literature and will frequently incorporate references or quotes from older epics. Drinking game: Take one shot every time I reference Dante's Inferno in something (don't actually do this for your own safety)

While my settings & stories tend to be very fantastical, I always seek to ground them in reality as much as I can and give them a grittier feel - combat in my stuff is a lot less cartoony and a lot more focused on broken bones and bloody bodies. I also write HEAVILY about real-world politics with an explicitly leftist anarchist view, so if that's not something you're prepared to deal with, I'd advise you turn around now.

My Current WIPs...

Karma Killer (full post here) - Slasher, Psychological Horror. In the fictional mountain town of Lake Leer, Colorado, a bullied teen named Kora Lynch is driven to suicide, only to be saved by a wrathful goddess and given a kabuki mask and the ability to know anyone's sins with a mere glance. Indebted to her new lord, Kora takes up the name of "Karma" and begins tormenting the people who drove her to die - only to start losing herself and her ideals with every bloody body she leaves behind her.

The Serpents They Stone (full post here) - Mythological Urban Fantasy, Cyberpunk. In an alternate version of our world where gods lived alongside humankind and brought them to a new level of technological prosperity, the dreaded World Serpent Jörmungandr reveals herself to have survived Ragnarok while rescuing her villainous old flame, the Phantom Queen Badb. Quickly finding herself pursued by the entire world for the prophecy that promises she will end the world, Jörmungandr dedicates herself to saving Badb from the "Black Pharaoh" that enslaves her - even as Badb is forcibly driven to remain sinister and create chaos.

Miasma (full post here) - Historical Dark Fantasy. Based on the Anglo-Norman invasion of Ireland & the later Black Death, the island of Ériu is besieged by the foreign Anglii and their High King is killed. His daughter, Hail, dies with him, but she is resurrected by the serpent goddess Corchen with one objective - to kill King Godric across the ocean, no matter the cost. Her mission soon intertwines with that of a mysterious plague doctor's, who seeks to stop an oncoming plague - one that could spell the end of all life.

Short Story Masterlist

D.N.R. (Character study about BPD) (full story here)

Ghost (Dungeon-punk horror) (full story here)

rusted from the rain. (Folk horror) (full story here)

[leonawriter]

Dazai’s background, clues in canon, and my theory.

Y’know, there’s a couple of things that I think are very informative about Dazai’s character, when trying to get a canon read on him (and not an AU or “I prefer it this way” or “but it’s good for the fic” one).

One of these is that I do not believe that Dazai has ever wanted for anything in his life - in a material sense - prior to going underground and then having only an ADA detective’s salary... and no, I’m not one of the ones who believes he has money saved away (from the mafia, at least) that he can use at any time - if he needs to keep his record clean, then that means not using dirty or laundered money. Those two ideas also do not cancel each other out. If he has alternate funds, they’re personal.

The other one might end up being another post, but here goes-

To back up this first point, are several things throughout the series. I know that someone once pointed out that Dazai uses a high-end smartphone. He also is still able to keep two of them - his old mafia phone and his personal one. 

I personally find it interesting how Dazai is *always* seen in a suit of some kind, especially in his younger years; it’s reminiscent of how young men in wealthy families are often characterised as not knowing how to dress down and be casual. Everything is formal. We see him in a suit at fourteen years old, and I think we can safely say that this isn’t just Mori saying that he has to dress that way, because Mori doesn’t seem to have any problem with assorted characters such as Q and Tachihara dressing in ways that are either strange, or much more in line with one being a punk teenager. Instead, Dazai is seen in a suit - and consistently - for four years. And even now, that’s still a suit, just a sloppily put together one.

Another aspect that informs us about Dazai’s origins is the way that he speaks.

At fifteen years old, when he isn’t talking to Chuuya (and that’s an important distinction to make, since Chuuya is one of the few, if not the only, person who makes Dazai act like a child) he tends to have a habit of speaking in measured tones and with a high vocabulary. He’s definitely still a child, but he knows how to talk to adults in a way that will get him listened to - specifically, adults in positions of power. Not just “power of him, as a child” but power. I think it’s important to remember also that the light novel of Fifteen makes note of how Mori and Dazai “colluded” - worked together on - the assassination of the previous Boss. 

So this wasn’t just drilled into him by Mori. Mori just found what was already there and utilised it.

Also relevant from Fifteen is this one line here:

“Dazai is not Mori’s subordinate. He isn’t even in the mafia. And he certainly isn’t an illegitimate child, or an orphan he picked up, or a medical assistant.”

Emphasis mine.

The important thing here is that Dazai isn’t an orphan. In a series where everyone is even in the present still recovering from a massive war, the fact that he’s pointedly not an orphan despite being with Mori like this and no parents ever mentioned, is interesting.

Now, as far as I’m aware, one of the popular things to do is to have him, in AUs, be Mori’s heir, or Mori’s adoptive son in some other respect. The thing is - I don’t think he needs to be. He clearly had a family he was with before Mori. And yet, they aren’t present.

I do have a particular theory about perhaps not who they are in a specific sense, but certainly who they are in a general sense, where even if the details change the idea stays the same.

The idea, which is just my theorising, is this: Dazai was born to someone of influence. Possibly a high-up government official or nouveau-riche, or possibly an old family. Either way, they had money, and they had power. His parents weren’t close with him. He may have had older siblings (he may even have young siblings, by this point, not that he’d recognise them). 

Dazai would have had notable issues regarding suicide well before he is first seen in the manga at fourteen; his family, however, effectively disowned him by leaving him with an underground doctor, assuming that he would not survive (remember: he had bandages over his head, as well as all of those other areas) or not caring if he did. Their family may have collectively decided that it would be easier to forget about him than to carry on with the shame of a child who would attempt suicide at such a young age. 

Dazai would have had the education of a young rich boy, a “bocchan,” and not taught that there was right and wrong as a child. Only that there were people who had, and people who took, about money and power and how to talk to people at stuffy parties, maybe expected to marry one day and have children to carry on the family name, in case his potential older siblings weren’t able to.

I also believe that Dazai at least in part chose to cut ties with his family, and that on the off-chance that, like with Mori Ougai and Elise calling him “Rintarou,” he had a different name as well in the past, he chose to change his name, and would never willingly go back to his prior name.

As for where I’m getting a lot of this?

Real Life Dazai’s own family were new money. His father held a high position in the government, which was respected at the time. It’s heavily implied through his works that he didn’t know how to relate to his family, feeling pressured into liking and wanting things he didn’t feel interested in, and scared of disappointing them. He mainly saw a specific servant woman as his mother figure more than his actual mother, since his actual mother was barely in his life. They had money, and could afford to get him a very good education, and the only reason why he didn’t is due to two different reasons: one of those was how he was involved in communist activities, and the other is, in a more impactful way, his suicide attempt/s. His inheritance was also cut off until he vowed to improve himself - several times, even!

You can read up on this more by looking up his real life self’s wikipedia page, but all one really has to do to get from this to what I wrote out as my personal ideas for BSD Dazai, is to adjust for the fact that he would be living in a more modern time period as opposed to having been born in 1909, and an alternate world history, and the fact that BSD Dazai takes less time to reach such a low point as he is at fourteen.

Bearing in mind that BSD is prone to changing things, it’s also prone to not changing things as much when it’s not necessary, or making stealth references. Which is why I said that although the details may shift and change and not be accurate, the idea that Dazai came from a wealthy family where his mental health problems were simply left unaddressed (and possibly made worse) for long enough for him to get to such a state as he’s in at fourteen years old only for them to ignore his existence after leaving him with Mori and for him to choose never go get back in contact, seems fairly in keeping with things.

It’d also give extra weight to what he says to Atsushi in Portrait of a Father. That he “doesn’t have much advice to give, except for one general thing - when one’s father dies, they tend to cry.” Dazai himself would in this case have complicated feelings about his own family, and much like Atsushi, would have later gone on to find that “positive father figure” in someone else, even if the older male figure themself is barely that much older than him. 

(I’d love to go deeper into this with the way this would affect him in his present situation, but for some reason I started this post when still very tired, so maybe when I have more energy.)

[dustedmagazine]

Listed: Leverage Models

Leverage Models started as the latest project from Shannon Fields (late of the much-missed New York collective Stars Like Fleas, and who’s also worked with everyone from Helado Negro to Rhys Chatham, JOBS to The Silent League). After 2013’s highly-praised self-titled debut on Hometapes, Fields wound up assembling a touring band that would wind up making Leverage Models’ newly-released sophomore record Whites(which, for reasons both personal and political, was made in 2015 but is being released now, partly as a fundraiser for the Southern Poverty Law Center). Joined by singer Alena Spanger (of Tiny Hazard) and all three members of the very powerful trio JOBS, among others, in their own words "Leverage Models makes pop songs about transubstantiation, ritual abuse, political apathy, divorce, white collar criminals, poverty, white liberal guilt, anxiety, & self-harm. With roto-toms." In his review, Dusted’s Ian Mathers says about Whites, "Musically, this album would be just as impressive if it had come out in early 2016, but back then maybe more people would assume the high-stakes intensity of the songs here were worrying too much. Sadly, the subsequent time has only shown again and again how appropriate that aspect of Leverage Models’ work really is." For Listed, Fields and Spanger provided a list of current inspirations and overlooked art pop.

Alena’s Current Inspirations

Life Without Buildings—"The Leanover"

The way that this singer, Sue Tompkins, approaches melody and lyric is hypnotizing to me. I love how she continues to repeat words—almost slogans—and alter their pronunciation until they seem to lose their original meanings and become more about the sound of the words. I typically wouldn't love the 90's alt rock aesthetic, but the steady, unobtrusive accompaniment provides the space needed for her vocals to live in.

Francis Bebey—"Pygmy Love Song"

I've been incessantly listening to Francis Bebey for months now. He seems to lean into the rawness and outer edges of what the voice can do. I love the way he mimics the bamboo flute with his voice on this song.

Lizzy Mercier Decloux—"No Golden Throat"

I sometimes feel like I need to shake off everything I learned from years of studying music and get to back to a more fundamental, raw approach. Lizzy is one of those untrained inspirations for me. She barely knew how to play the guitar and started singing not long before this album came out. This resulted in such adventurous, unselfconscious music. She is at once playful, unbridled, and searingly direct. She wasn't really respected in the NY scene when this record came out, and was by some seen as an imposter, reliant on her male collaborators to hoist her up. After digging deeper into her music, it's obvious that she possessed great artistic autonomy and vision and her lack of recognition was a result of unfortunate industry circumstances and sexism. The lyrics in this song are her response to the pressures that's she experienced to sing more conventionally.

Lonnie Holley—"Here I Stand Knocking at Your Door"

I saw Lonnie Holley play in NY recently and was so moved by the freedom with which he sings and the purity and untouched quality of his music. Every aspect of his performance- down to the smallest movements of his body were connected to the sound and channeling into one cohesive and beautiful statement. He is one of those rare, singular artists, who seems to make art out of everything he touches.

Brigitte Fontaine—"Moi Aussi"

She is such a badass. I love the simplicity of using just a drum as accompaniment. In this song, she's singing with her partner at the time, a French/Algerian musician, Areski Belkacem who brought some traditional folkloric sensibilities to their music. The effortless blending of theater and music is something I really strive for in my own work.

Shannon

I needed to give myself a theme so I decided to select some of what I think are overlooked vintage art-pop coming out of the post-punk 80s into the and slick new-agey, ‘world music’ appropriating 90s. I’m completely taken in by that era of experimentation and production right now, though I can’t say why. I find myself drawn most to the songs that effortlessly stumble into choices I don’t always understand. They don’t seem like they’re out to destroy any genre conventions so much as they seem blissfully ignorant of them. Certain moments shock me as to how much more relevant and contemporary the MIDI/electronic, experimental and arty music is as compared to the 60s & 70s guitar-based music that’s ruled for so long (and which has nothing at all to offer a lot of younger musicians I talk to these days). I could have easily made this list 20. This was hard.

Che—I ‎(Narcotic, 1987)

What a confusing record. Half of it is very eccentric, slightly woozy funk. With the subtlety-obliterating rhythm section of Art of Noise or later New Jack rhythms, cock-rock guitars, and these drunken almost a-melodic passages. The ending of Scream Like A Swiftcould be a codeine-fuelled pass at Jensen Sportag’s contemporary hyper-MIDI, vapor-wave smooth-jazz. Moving The Silencesounds like The Blue Nile but with the kind of ironic detachment (think Arto Lindsay & Ambitious Lovers) that leaves you creeped out and confused rather than crying in your drink. And while I’m a bit black-hearted and prefercrying in my drink, I’m also completely transfixed by this. This song, Jerusalem,just kind of takes my breath away with something entirely unfamiliar: built from slabs of goth and pure Peter-Gabriel world-cheese, it somehow alchemizes into something I have never heard. A whole album of this and I’d have it on repeat with Scott Walker’s Climate of Hunter(which also belongs on this list and is one of the best ‘confuse-core’ records ever made).

Akira Inoue—サファリ・オスティナート (Splash, 1983)

I’ve seen this song title translated as "Safari Ostinato". I know very little about this person or this album. Somebody help me. It’s the kind of album that repels and compels alternately. It gives you whiplash in the gentlest, most covert way. It’s a sort of adult contemporary, New Wave, jazz fusion MIDI album and this song is both beautiful and bonkers. The whole album is. I wonder if Dutch Uncles have heard this album. I could draw a line from here to there.

Andréa Daltro—Kiuá (Kiuá, 1988)

Released by the amazing Dutch reissue label Music From Memory. Originally released on Estudio De Invencoes in 1988. Andre Daltro was a singer and the song was, I believe, originally recorded with the band Brazilian "spiritual jazz band" Sexteto do Beco in 1980. But this version trades organicism and chops for drum machine, keys, MIDI sounds, and rattling ambient chatter, both acoustic and synthetic, and it’s like nothing you’ve ever heard…it rivals Arca’s new s/t album for this kind of strange, winsome cyber bel canto transmission from an alien jungle, though far less brooding, no less arresting.

Jane Siberry—Lena is a White Table (The Walking, 1987)

I knew Jane Siberry later hits and didn’t much care for them. I knew she worked with both Hector Zazou and Barney the Purple Dinosaur. I was not prepared when I first heard this album, The Walking. I believe when she was first signed the industry thought of her as the "new Kate Bush" and wanted to cash in on the mass tolerance for ‘art-rock’ a-la Peter Gabriel and Kate Bush. But The Walkingis to Hounds of Loveas The Blue Nile’s Walk Across The Rooftops is to Laughing Stock’s Spirit of Eden. I love all of the above, but what Siberry and The Blue Nile share in this example is the same kind of epic freedom and reach but a sort of fragility and limitation and ramshackle, almost amateurish quality that make them really humane and relatable to me. The first time I heard this song I confess that my first thought was how much it reminded me of Alena’s old band, Tiny Hazard, who were one of my favorite bands in Brooklyn. I know it seems silly to say it, but somehow this track feels so much less ‘theatrical’ then the same era of Kate Bush…more interior. It feels like a very intimate experience to listen, to the point that I find myself feeling embarrassed for listening in.

Gary Numan—Cry, The Clock Said (Dance, 1981)

I hesitated to use one of my choices on an artist I feel like everybody knows. But I almost never meet anyone who really knows THIS album (and I know because I push it on everyone). If you only know the playful, cold cyber-punk of the first couple of Gary Numan/Tubeway Army records (which are, to be clear, brilliant, and a big influence on me) you really need to hear this album. At its most extreme corners (of which this song is one) I don’t know anything like it. Gary Numan’s great magic trick, the one I endlessly faun over, is how his disaffected, conventionally ugly, robot voice transforms into something heartbreaking and relatable by the time it reaches my heart (especially on Telekon’s piano-based tracks). I know that’s a cheesy thing to say but fuck you, I need sentiment these days. Anyway, nowhere is it more the case than in this songs arrangement. Musically, it feels entirely alien and also entirely familiar, with Japan’s Mick Karn barely there alongside what sound like Casiotone boss nova beats and the most heartbreaking little chiming synth arpeggio that come and go like a kitten that wakes up momentarily from its drug-induced nap. It’s 10 minutes long. I’ve had it on loop for hours without getting tired of it. I’ve wanted to make something like this for a long time now. Some day I’ll have this kind of restraint.

#11 Bonus Track!

Né Ladeiras—Cruz (Corsária, 1988)

I also know next to nothing about this Brazilian album, dedicated to Greta Garbo. I read that it was produced and arranged by Luís Cília ,who wrote a song that became a sort of second anthem for the Portuguese Communist Party. The MIDI harps sitting matter-of-factly on top of those plate-reverbed guiro, clave, bells…I want to live inside the room they build. And it’s a lovely, airy progression that never grows tiresome as it modulates in a drifting-down-the-stream sort of way. The ending lifts so high with barely a shrug’s worth of effort. Gorgeous.

[quarantineroulette]

Seditions of You: An Interview with Filmmaker Joe Wakeman

Joe Wakeman’s second feature, The Shoplifters (not to be confused with the Palme d’Or-winning film of the same title, but hopefully SEOs are none the wiser) is “a series of tableaux depicting the follies of a group of naïve Marxist would-be radicals” striving to be revolutionaries, only to discover that “what they really want is to be seen wearing berets.” 

Although he began work on it a decade ago, The Shoplifters carries some very timely themes about online activism, consumerism, and the shallowness of modern culture as a whole. With fairly little effort, its thought-provoking vignettes resist passive cultural consumption and its stylistic fluidity keeps it visually stimulating as well. Its 70 minutes also offer a lot of seamless humor, from a slightly slapstick dressing room shoplift to a smart, satirical "revolutionary bake sale” in Washington Square Park.

Ahead of The Shoplifters’ appearance at the NewFilmmakers New York Film Festival on February 6, I spoke with Joe via email about collaborations, Maoist propaganda and Communism as fashion statement, among other fun topics. 

1) What ignited your interest in Marxism & Maoism? 

I've been interested in Marxism since I was a teenager, probably about when I was 13 and first encountered the politically inclined punk of The Sex Pistols and The Clash, and Dead Kennedys -- I think it's somewhat common for young suburbans to go through a "Communist" phase. What I didn't realize at the time was that my interest in Marxism was really less about politics, which admittedly I knew precious little about (though I do lean rather strongly to the left) and more about the iconography of Communism: I would go around with sickle and hammer belt buckles and spell "Revolution" with a backwards “R.” That sort of corny thing.

 Later on, when I was 18 or so, I saw Jean Luc Godard's La Chinoise and his Groupe Dziga Vertov films with Jean-Pierre Gorin, all beautifully boring films depicting sexy French Maoists who do very little real revolutionary activity, despite their ability to quote at length from Marxist texts. These films made it apparent to me that what we think of in the US as "Marxist," where Communism has never been a reality, is as much a set of fashion and cultural signifiers as is the uniform of a typical "Goth" or "Emo Kid" -- berets, fists in the air, shabby clothes, shiny boots and cigarettes. 

2) I believe you've mentioned that you started working on -- or had least conceived of -- The Shoplifters about 10 years ago? In what ways has it changed in that time? 

Yes, at that time my friend Taylor Bruck (who plays Che Smith in the film) and I were also sometimes engaged in the "cool crime of shoplifting." There was a certain politically oriented moral code about it, where it was okay to shoplift from big corporations like Barnes & Noble but not right to steal from local businesses. But after seeing the Godard films we talked about how goofy it would be to take those politics further and call ourselves "revolutionaries,” which became the kernel of the absurd story for The Shoplifters that we wrote together.

The original script had a lot more characters and more action, arsons and assassinations and a lengthy courtroom finale at the end, where the Shoplifters are put on trial for sedition and theft. All that sounds exciting, but keep in mind, this was the script of a teenager. It's really rather cringe-worthy to read today. I threw the whole thing out when I reworked the film, though a couple scenes survive: the opening speech and the fitting-room sequence, where we pile on layers of stolen clothes, are both from the original version of the movie. We tried to shoot scenes from that script at that time, when I was 18 years old, with some borrowed equipment from the TV studio I was working for at the time, but we shot on damaged tapes and botched the sound recording. The material was practically unusable so, dejected, I hung up The Shoplifters for awhile and dedicated myself to working on other things and developing more before taking another crack at it. 

3) Do you see The Shoplifters as sharing any similarities with your first feature, They Read By Night? Although stylistically different, they both seem to lovingly mock certain countercultures. I also like that they both have "nested" films within films (the short in They Read by Night and the music video and "Post-Capitalist Potential for Mass Education in the Internet Age" sequence in The Shoplifters).

Definitely. Actually They Read By Night was an attempt, after the first failure of The Shoplifters, to write a similar film on a smaller scale. I swapped out the berets for leather jackets and the characters became greaser-rock ‘n’ roller juvenile delinquents instead of revolutionaries, but the point is essentially the same -- that their so-called rebellion is still a symptom of capitalism, buying into another kind of "outsider" fashion. 

As for the films-within-the-film element, I've always been attached to the idea that a movie does not have to tell one story, or focus on the story, or even just be one type of film. This is the other big element learned from the likes of Godard and other counterculture filmmakers, Dusan Makavejev, Warhol et al. -- that the "plot" of a film is not so important as the ideas which animate it, and to express those ideas more in the form of a lively discussion that, in a movie, can be shown with images rather than just spoken with words. Let's make our characters watch a film together and see how they react, or in The Shoplifters they educate themselves about Mao Zedong by reading about the Cultural Revolution on Wikipedia and from there its a free-flowing association of images culminating in some psuedo-Greek philosophy. It's the kind of methodology that people experimented with in the ‘60s and you see less often today, though occasionally you do see it, in Sion Sono's excellent recent Antiporno. Or, actually, the web-browser screen cap stuff in The Shoplifters is inspired by the 2014 teen horror film Unfriended. It's kind of a limitation of the cinema's potential when a movie just tells you a story one way, unless the story is really good, like Titanic or something. 

  4) Both films also have musical sequences (the fight scene in They Read By Night and "Style Revolutionaries" in The Shoplifters). Given your involvement in the music scene here in Brooklyn (Joe is in the band Toyzanne, who you should definitely check out, and directs music videos as well), would you ever consider doing a musical?

I love musicals! They're a popular illustration of that same idea -- the story stops, and somebody sings a song that comments on it, or sometimes the song continues the story, or presents a separate situation which is analogous to the story. I was raised on musicals and I think they can still be cutting-edge as a genre, even though many might regard them as old-fashioned. I composed a lot of the music for The Shoplifters, together with DP Torey Cates and help from musician friends from the Brooklyn scene: Brendan Winick (also in Toyzanne), Frank Rathbone and Jenna Nelson (of Sic Tic), Kate Mohanty. Holly Overton and Sannety (who also stars in the film) contributed their unique stylings for different sections of the film as well. When I showed my friend John Sansone an early cut of the film, he remarked that he didn't realize that it was a "musical" which surprised me because there's no singing, (except for the Smiths cover and "Style Revolutionary"). But when I considered the role music plays in the film, it's really not too different from a musical in structure and tone, which was something that made me feel very happy about it. I'd like to eventually do a proper musical with lots of songs that plays with the genre in a more direct way, but I also don't think I'm mature enough yet as a filmmaker to attempt that.

5) How did the various collaborations in the film (the score, and the sequences from Oliver David and Preston Spurlock) come about? 

Oliver David had made two music videos, one for my old band Bodega Bay and one for ONWE that had this style of a slow-motion fashion advertisement for the bands. I really enjoyed these videos and wanted Oliver to do something of a "remake" of the same style, this time advertising the revolutionary cadre in the film instead of a rock ‘n’ roll band, making the not-so-subtle commentary even less so. Likewise, when I was preparing to make the film I became close friends with Preston Spurlock, who makes these mind-blowing video collages of old commercials and such that are like wading through cultural toxic waste dumps to tap into some unconscious reflections that can't be put into words. I connected these in my head to stuff like Godard's Histoire(s) du cinema or the work of Adam Curtis (HyperNormalisation, The Century of the Self) and thought they would add a lot to the dialogue of images I was trying to present in the film.

 I think that it's unimportant for an artist to be the "sole author" of a film. It is more interesting when I think, “Oh, Sannety can do things with electronic music that I don't even understand,” or “Oliver and Preston work in video in a completely different style from me which can form a relationship with my style, so why not ask them to contribute and make it a real dialogue rather than a constructed one.” I think collaboration is key in filmmaking -- it keeps the spirit of montage living through and through the work, which if you consider Eisenstein and Vertov, is really "Revolutionary" filmmaking. 6) I liked the criticisms of Internet activism the film presented. In the ego-driven realm of social media, do you feel there is any way for a pure act of protest or activism to thrive or even exist? 

Yes I do think real activism can exist and can even be given a lot of strength through the Internet and social media -- those things have leveled the playing field and given voice to marginalized communities who hadn’t had that kind of visibility before the advent of these networks. Community organizer Candice Fortin, introduced to me through Gwynn Galitzer and Suffragette City Magazine, is another voice present in the movie, in keeping with the collaborations that exist throughout the film. She explains activism in the modern era and what people can do to start enacting change very eloquently midway through the movie, and i don't think I can say it better than the way she did in the film. She is constantly posting about progressive candidates, organizations and other concerns through social media to bring about political change on a grassroots scale. You can follow her @candicefortin for a start, but mainly pay attention! These opportunities to help are all around. 7) Do you have a favorite piece of Maoist propaganda?

Yes! This Maoist ballet from the cultural revolution, encouraging women to form feminist revolutionary cadres: The Red Detachment of Women. You can watch it on Youtube. Footage from it appears in Preston Spurlock's section of the film, I think it's beautiful and absurd, but I think weirdly Old Hollywood despite its anti-Western screed, like An American in Paris or something but cheaper looking. I really get a kick out of it. Perhaps when this one-day musical comes to fruition I’ll dole out some political ballet as a quiet (or more likely, loud) nod.

The Shoplifters is screening as a part of the NewFilmmakers New York Film Festival at Anthology Film Archives on Feb. 6, 2019. RSVP here. 

[joemuggs]

Occupy the Dancefloor 2012

Been talking about politics in dance music a lot lately. Obviously the Bassiani protests in Tbilisi and Berlin have thrown it into relief, but there’s a lot of other vigorous discourse going on, both to do with the current age and in looking back 30 years to the “Summer of Love”. In thinking about it, I dug out this piece I wrote for Mixmag at the end of 2011, published in Jan 2012. I present it now without comment, except to say it’s pretty fascinating how much has changed in some ways and how little in others.

“The atmosphere was electric! I'd never felt such a concentrated positive energy before. People from every walk of life and background were united...”

It's the sort of quote you've probably seen in interviews with DJs a hundred times before, but this time we're not talking about the summer of '89 or any other hoary acid house reminiscence. This is Optimo's JD Twitch recounting his visit to the Occupy Wall Street encampment last summer.

2011 was a hell of a year by any standards, with conspiracies, scandals and crises at every turn. The Arab Spring and war in Libya, riots across the UK, Greece and Spain, Europe edging ever closer to economic collapse, the hackgate scandals, public services being cut to ribbons by a government of comically posh pantomime villains... it seemed sometimes we've had a decade's worth of news all in one go, and it shows no sign that things are going to calm down any time soon. Quite the opposite, in fact – by the time this issue hits the shops, we're fully ready for a couple of small nuclear wars to have broken out and the Euro to have been replaced as currency by peanut M&Ms.

But what's all this got to do with Mixmag? Ravers generally go their own merry way, right? Switch the news off, pull the curtains tighter to blank out the dawn, turn up the music and crack on – leave the politics to Bono? Well, yes and no. The Occupy movement, which sprung up in cities across the western world to demand accountability from institutions in response to the banking crisis that underpins much of the chaos in the world today, has not had much vocal support from the clubbing world – until more recently.

In December Massive Attack's 3D curated a show with Thom Yorke and Tim Goldsworthy (ex LCD Soundsystem), and has been putting up online a series of mix sets by the likes of Horsemeat disco, all in support of the Occupy movement. And a glance at occupymusicians.com shows a small but steadily increasing number of dance DJs and producers among the indie bands and experimentalists standing up and being counted. So is clubland developing a social conscience?

Maybe it's just that we're remembering that dance is not a bubble separated off from the world after all. Professor John Street, author of the new book Music and Politics, points out that “from the 1920s when US sheriffs would issue decrees about how couples could dance together, to rock'n'roll and the scandal of how teenagers reacted tot he music, and on through rave, the powers that be have been as exercised by the performance of dance in crowds as they ever have by the lyrics of songs.” That is to say, the simple self expression of dancing can be as much of a political act as any protest song, and indeed can have more effect.

Trance deity Paul Van Dyk, himself no stranger to political activity, is clear too that losing it on the dancefloor doesn't mean losing touch with wider realities; perhaps unsurprisingly for someone who grew up in oppressive Communist East Germany, he believes the freedoms we enjoy should be trumpeted from the rooftops. “People, artists, movements can be hedonistic and free spirited,” he says, “but also speak out and make a statement of the fact that this is a more tolerant and respectful group than many others in society.”

The author Tim Lawrence, who has closely studied the roots of modern dance culture going back to the start of the disco era, concurs. “I just don't accept that going out clubbing is self-absorbed,” he insists. “Sitting at home and looking in the mirror is self-absorbed. Going out with friends and engagement in a physical activity that only works if everyone participates and contributes is an act of socialising and community. If we stay at home and watch TV all the time we're saying one thing about the kind of society we want to be part of. If we go out dancing, we're saying another thing. Dancing is political.”

Matt Black of Ninja Tune founders Coldcut goes further, but sounds a note of caution. “Yes, people commune and collaborate through dance events,” he agrees, “and often they share an interest in making the world better, in social justice – but as with everything that gives people pleasure that culture is very easily hijacked by those who want to make a quick buck. Cocaine becomes involved, egos become involved, and very quickly you lose touch with the constructive spirit that was so inspiring in the first place.”

“But,” he continues, “that's maybe part of the natural cycle of things. The punk of today becomes the suit of tomorrow, the spirit of rebellion wears off somewhat. That's not necessarily a bad thing, though: I think there are probably a lot of people in ordinary jobs now who still carry the inspiration of acid house and rave with them, and when they see something like the Occupy movement, they think 'yes, that's something I understand and can get behind' because they know that feeling of being part of something bigger.”

It's not just old ravers carrying the inspiration of the past forward though. Many in the dubstep generation are aware of the power of dance music's communality, its deep roots, and the potential this has for social action. Loefah, as co-founder of Brixton's DMZ night is one of the most important figures in the growth of dubstep and all that's followed. His diverse Swamp 81 label is named after the police operation that sparked the original Brixton riots 30 years ago – but he stops short of making direct political statements, instead preferring to use the networks of art and music to deliver coded messages, not preaching but drawing people in and allowing them to make their own conclusions.

“When I was a teenager,” says Loefah, “pirate radio and white labels were everything, and as you got more and more into it, you began to understand the culture. Then when I went to the jungle raves, you'd become a part of this community, meeting the people you'd heard shout outs to on the radio, and you get something from it that's impossible to explain unless you're there but it's powerful and it's not controlled by any authorities. It might sound elitist, but it's not: anyone could be a part of it, but you have to make the effort to find out and understand it.”

Ben UFO, DJ and founder of the Hessle Audio label, is emphatic that the communities created in this way post jungle, garage, dubstep and grime are politically important. “Dance music in London especially,” he says, “has always provided a space for people from all sorts of different class backgrounds, different races, genders and identities to come together for a common purpose and communicate with each other - this is quite radical in itself, and I think it's easy to forget that. A good example of this is the multitude of conversations facilitated by music in the aftermath of the riots this summer, with my whole Twitter timeline dominated by the riots as they were happening and afterwards. Likewise a radio station like Rinse FM preserving and archiving a record of music made, presented and distributed by young, predominantly working class kids is a hugely significant thing in its own right.”

So club music IS political, even when it's not trying to be. But are we on the verge of it becoming more so, of ravers voicing resistance to entrenched power alongside the Occupy protesters? Don't count on it – after all, the instinct to close the curtains and chop out another line is still strong. US journalist, music business expert and Occupy LA campaigner Giovanna Trimble sadly points out that dance acts who may pay lip-service to anti-establishment views are slower when it comes to turning out for protests or organising benefits. “I have not seen any support from electronic dance music acts,” she says, “especially the ones who identify themselves as political beings.”

The opportunities are there, though. Trimble still holds out hope: “I feel that of all genres, EDM has the most space for activism as the demographic is far more open-minded and less 'corrupted' by corporations.” And veteran German house singer Billie Ray Martin sums up exactly why getting bodies out on the street is powerful just as “the mass feeling of possibility and power that the height of house in '88 and onwards” had produced for her. “We've lived in a time of virtual socialising,” she says, “and it's all very fake. it's easy to click 'like' on a post that says 'do you want to personally go out and change the world?' and then move on the latest video on there and not even ever think about why you clicked 'like'. I wish we would go out on the streets and shout it out – and that's where Occupy comes in. I hope it gains the kind of power it deserves. I'm there all the way. 'Like'!”

[narsetsdisciple]

Got tagged by @tibalt-the-fineblooded!

1. COKE OR PEPSI: Coke 2. DISNEY OR DREAMWORKS: Both 3. COFFEE OR TEA: I’m generally a tea person but I love coffee as well, so, both. 4. BOOKS OR MOVIES: Books, definitely.

5. WINDOWS OR MAC: Windows 6. DC OR MARVEL: Both 7. XBOX OR PLAYSTATION: I uh. I have no experience with either so I’ll just say computer/pc 8. DRAGON AGE OR MASS EFFECT: Dragon Age. Probably. 9. NIGHT OWL OR EARLY RISER: Night Owl all the way 10. CARDS OR CHESS: Cards, I don’t know how to play chess 11. CHOCOLATE OR VANILLA: Chocolate! 12. VANS OR CONVERSE: Converse, always and forever 13. LAVELLAN, TREVELYAN, CADASH, OR ADAAR: What now? 14. FLUFF OR ANGST: Angst 15. BEACH OR FOREST: Forest, don’t like sand much (Anakin approves) 16. DOGS OR CATS: Cats. 17. CLEAR SKIES OR RAIN: Rain, but only if I have to be out for a minimal amount of time. 18. COOKING OR EATING OUT: Eating out. And not only in restaurants *wiggles brows* 19. SPICY OR MILD FOOD: Mild, although I do like spicy food.

20. HALLOWEEN/SAMHAIN OR SOLSTICE/YULE/CHRISTMAS: Eh, Halloween is not a big thing here in Europe, so I guess Christmas? 21. WOULD YOU RATHER FOREVER BE A LITTLE TOO COLD OR A LITTLE TOO HOT: This is a tough one 22. IF YOU COULD HAVE A SUPERPOWER WHAT WOULD IT BE: Reading minds, telepathy. 23. ANIMATION OR LIVE ACTION: Animation. 24. PARAGON OR RENEGADE: Paragon. 25. BATH OR SHOWER: Bath! Bath! Bath! With bubbles! 26. TEAM CAP OR TEAM IRONMAN: Have to say Ironman (sorry Cap) 27. FANTASY OR SCI-FI: Both, I love both. 28. DO YOU HAVE 3 OR 4 FAVORITE QUOTES IF SO WHAT ARE THEY:

“The only way to get rid of a temptation is to yield to it.” - Oscar Wilde, The Picture of Dorian Gray

"Nothing can cure the soul but senses, and nothing can cure senses but the soul." -Oscar Wilde, The Picture of Dorian Gray "Not all those who wander are lost." - J.R.R. Tolkien, LotR ”We are all broken, that’s how the light gets in.” -Ernest Hemingway

Bonus:

“He’s stuck out there. He thinks he’s totally alone and that we all gave up on him. What kind of effect does that have on a man’s psychology?” He turned back to Venkat. “I wonder what he’s thinking right now.” LOG ENTRY: SOL 61 How come Aquaman can control whales? They’re mammals! Makes no sense.”   - Andy Weir, The Martian

+ The whole book. Almost every line of it is great. Also: the entire passage on “Laws on Mars”. It’s long, so I won’t bother you with it, but you can google it and read it for yourself.

29. YOUTUBE OR NETFLIX: Youtube, because you gotta pay for Netflix. 30. HARRY POTTER OR PERCY JACKSON: HARRY POTTER ALL THE WAY ALWAYS AND FOREVER 32. STAR WARS OR STAR TREK: I’m less familiar with Sar Trek so I’m gonna say Star Wars, 33. PAPERBACK BOOKS OR HARDCOVER BOOKS: Both, as long as they’re physical copies. 34. FANTASTIC BEASTS OR CURSED CHILD: Tough choice. Haven’t seen the play, only read it. So I’ll just say both. 35. ROCK OR POP MUSIC: Rock 36. WHAT IS THE MOST IMPORTANT THING IN YOUR LIFE: Um. Sleep? In general, knowledge is very important to me. I can’t say what’s the most important thing to me in my life. I don’t really know. 37. THE LAST BOOK YOU READ/THE ONE YOU’RE CURRENTLY READING: The Testament of Mary by Colm Toibin 38: SONG THAT MAKES YOU SMILE/SONG THAT MAKES YOU CRY: A lot of songs make me smile, but not always. For now I’ll say Lily Allen’s URL Badman. One song that has made me cry a couple of times is White Sparrows by Billy Talent. 39. SUSHI OR WONTON SOUP: Haven’t tried either, so, neither. 40. SPRING OR AUTUMN: Autumn 41. DRAWING OR WRITING: Writing 42. SINGING OR DANCING: Singing

43. TV SHOW/MOVIE/BOOK THAT’S LIKE YOUR HAPPY PLACE, SOMETHING THAT ALWAYS MAKES YOU SMILE: Steven Universe? Or maybe Gravity Falls. The Harry Potter books. 44. FIRST GOOD CHILDHOOD MEMORY THAT POPS INTO YOUR HEAD: An old school punk dude, neon Mohawk, skateboard,  sleeveless kinda look, went passed my driveway on a hot summer day and laugh/shouted at my sister and me to spray him with our waterguns.

45. If you could be any animal what would you be and why?: A cat! Because cats don’t give a damn about the world and can sleep 18 hours a day and that’s considered normal for them. Also: being cute and getting petted.

46. What’s the best joke you’ve ever heard:

A couple is walking in St. Petersburg Square on Christmas Eve.They feel a slight precipitation.

"I think it’s raining," says the man.

"No, it’s snowing," replies the woman.

"How about we ask this Communist officer here? He is always right!" exclaims the man. "Officer Rudolph, is it raining or snowing?"

"Definitely raining," Officer Rudolph replies before walking off.

The man turns to his wife with a smile. “See? Rudolph the Red knows rain, dear.”

47. Favourite magical element: Hm. Hm hm hm. Water/ice, and fire.

I tag.. um.. @voltaic-quicksilver, @ralzarek-electromancer, @renegade-prime, @dominian-dracologist aaaand @kideon