#flavorwire

[heavenlyyshecomes]

are there social media accs you follow for book recs / how are you able to find such good books ? ty

I don't get my recs from social media (if you're thinking of booktok & bookstagram etc.), mostly from my go-to lit sites + my online friends. I'll give you a list below, but to find "good" stuff to read, you need to know what you like reading, not just genre-wise but also more in-depth, like characterisation, plot vs characters, style etc. It'll help you understand yourself better, and from there you can dive into newer styles within your preferred genre. for example, if you like reading historical fiction, specifically romance set in, say the regency era, try reading hsf but set in a completely different country or a thriller in that era instead. It's a much better way to read new stuff without jumping around too much and better than the advice that just straight up tells you to pick something up randomly outside of your favourite genres just because "it's good." also let your other hobbies and fav media influence your book choices if you're really into ceramics maybe read edmund de waal or if you liked a polish movie abt possessed nuns try lauren groff's matrix !

anyways, keep trawling thru archives of old defunct blogs, look at new literary sites, follow thirty-seven year old people on twitter, and always keep yourself open to new things!

Favourite accounts on goodreads & the storygraph: t. h./galileogallilei, priya reads, baba yaga reads, ygraine, sarah cavar, fluoresensitive, siluetas

on tumblr: @librarycards @firstfullmoon @paandaan @maeumsim @oldyears

on twt: david hering, aesthekeit and literally just go through my likes @ moodfiIms i have like a hundred best of lists there.

sites: lithub, flavorwire archives, five books, the new yorker, and just google best books of 2023 you'll find great sites

on instagram: (i follow these mainly for aesthetic reasons than anything else lol) letterarii, thegirlwhoreadsonthemetro, molsbymoonlight, yourstrulysalma, libraryofsoph <3

[thewaysoundtravels]

(via 10 Female Electronic Music Producers Defining the Sound of the Future | Sound of Life | Powered by KEF)

See also 10 of the Most Interesting Women in Experimental Music | Flavorwire

[ohc-and-the-music-tapes-archive]

The Music Tapes' Lullabye Tour mentioned in "10 Wonderful Holiday Music Events from Around the Country" article. Flavorwire, 8th November 2010.

[nfrazer92]

Chillwave as a genre of music and the 2007 financial crisis (per Wikipedia): “ ... whereas punk reacted with anger and a desire for change, chillwave was the sound of escapism and resignation. ... it's surely no coincidence that chillwave's rise coincided with the aftermath of the 2007 sub-prime economic meltdown."[32] Hawking on Flavorwire: “What Did Chillwave Mean, Anyway?

[hadersgf]

I think you’re the bees knees

Beads?

Bees

BEES

[max-von-sirbaf]

infographic from Flavorwire and Jennifer Lewis

[bostonpoetryslam]

I walk around with a ton of ideas kind of slow-baking in my head, all day long. And I’m always trying to grab as many as possible. It’s like those lottery machines, where people are in the tubes with dollars flying everywhere, and they have to catch as many as they can before time runs out. I’m always feeling like I’m at the edge of time running out.

Hanif Abdurraqib, interviewed by Sarah Seltzer for Flavorwire

[yasbxxgie]

[...]

Of all the things the song has metamorphosed into, and all of the meanings and anti-meanings it’s taken on, the original — which never made the charts — remains the most potent, perhaps because it’s a historically spectacular vocal performance, perhaps because an extemporaneously weird recording of the song defined Screamin’ Jay Hawkins’ entire career, or perhaps because of the uncomfortable murkiness of its identity politics seen in Hawkins’ performances. Probably all of the above.

It’s a known-ish fact that Screamin’ Jay Hawkins wouldn’t have been Screamin’ Jay Hawkins if it weren’t for the drunken shenanigans — foreshadowing a life replete with shenanigans — that overtook his performance of what was originally intended to be a love ballad. After getting blackout drunk on a night of recording “I Put a Spell On You,” he realized he “could do more destroying a song and screaming it to death” than attempting more traditional blues stylings. He told the LA Times that he “called on [his] opera training” and his ability to “scream soprano.”

At the time of recording, in 1955, The Beatles didn’t even exist, and thus hadn’t yet “sexually revolutionized” music with their perverse, licentious claims of “want[ing] to hold your hand.” So you can imagine how listeners responded to Hawkins’ song of demonic attraction, which he ended in a series of noises that sounded halfway between your typical, orgasming man and a pig who’d just completed a marathon (different Hawkins recordings culminate in various other animal noises). It was, of course, banned on many radio stations and in stores.

Hawkins realized, with the help of DJ Alan Freed, that the possessed, voracious hyper-sexuality that surfaced in that first recording could make for a larger artistic persona, and he soon undertook a sartorial transformation to match the vocal performance. His ghoulish spell-caster look — which often involved emerging from coffins, sporting witch-doctor-y nose appendages, capes and leopard print and toting a smoking skull on a stick — stayed with him throughout his career. It did plunge itself into the questionable territory of racial stereotyping, consumed with glee by white audiences (see this 1966 performance on the Merv Griffin show, for instance.) Hawkins said, again in the LA Times, that he did it “to be different — putting on a cape and putting a bone in my nose and acting like a lunatic.” His performances were met with scorn by the National Association for the Advancement of Colored People (NAACP).

But was Hawkins’ performative identity — especially through this particular song — just as much a confrontation of white audiences’ perceptions? Was it not in some ways both an indictment of those who wanted to consume the music of black artists, or more egregiously, music appropriated from black artists (Elvis was, after all, just releasing his first recordings at the time), without acknowledging America’s backwards relationship to its black population? If racism and oppression were fueled by fear of the black man, then was it not an immensely bold statement to confront white audiences with their own preposterous fears, as opposed to trying to appease them by performing whatever they deemed to be acceptable for black people in the public eye — i.e. passivity and whiteness?

The fact that the song was a chart-topping single in 1968 for white singer Alan Price, but not for Hawkins a decade earlier, speaks to this level of “acceptability,” and to Hawkins’ boldness in setting himself outside of it. At a time when civil rights were questioned because white people wanted to keep the black population in check, was it not a huge statement to make public the unprecedented sound that was Hawkins’ vocal rage and lust? (The ambiguous statement of Hawkins’ aesthetic was surely later once again brought into question by his satiric album title, Black Music for White People.)

As was previously mentioned, the song was thereafter covered ad infinitum, a phenomenon likely sparked more by Nina Simone’s cover (the song became such a known part of her repertoire, and so quintessential to her own artistic image, that she named her autobiography after it) than Hawkins’ original. Simone’s performance, apart from the sheer awesomeness of its mordant seductiveness, is powerful in its affiliation with the singer’s known activism, as it was a potent assertion of black, female power. Though it in no way attempted to imitate Hawkins’ unhinged belch-operatics, Simone’s version began as matter-of-fact — pronouncing the first lines “I put a spell on you” with spoken certainty, before waxing melodic, then escalating in a sexy battle with an invigorated sax, which ultimately surrenders to Simone’s climactic scat.

[...]

[kimleutwyler]

Painterly Photographs of Beautiful Modern-Day Transylvania https://ift.tt/2qjM1c1 via @flavorwire

[aboutbookstores]

The library from The Fantastic Flying Books of Mr. Morris Lessmore

Source : Flavorwire

[monasticcellphone]

Flavorwire consistently has the best articles.

[mydigitalshacks]

Haunting Photos of an Abandoned Italian Madhouse When German-born photographer Andy Schwetz visited the Manicomio di Racconigi, an abandoned insane asylum in Italy, he was struck by the horror of the procedures performed there, from electroshock therapy to experimental operations. He channeled… https://www.flavorwire.com/p/gallery-andy-schwetzs-madhouses-19417763?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+flavorwire-rss+%28Flavorwire%29 #Hauntedphotos #haunted #abandoned #italian #madhouse #flavorwire #schwetzs #hauntedhouse #hauntedmovies #hauntedmovies #italy #asylum #electroshock ##therapy #manicomio #di #racconigi #german #italian https://www.instagram.com/p/B8Zj3_zlRAU/?igshid=lv5feomf2taz

[mountainmavensandmuses]

[queensugardaily]

Queen Sugar listed as a TV Top Pick for Flavorwire

[heisenbergchronicles]

8 Things We Learned at Bob Odenkirk’s SXSW Panel (Flavorwire)

#3. He’s learned something about the projects that end up working.

Armisen noted that Odenkirk has been on a bit of a winning streak lately, involved in projects (like Breaking Bad, Better Call Saul, and Fargo) of very high quality, a sixth sense for good stuff that Odenkirk shot down immediately: “I’m in lotsa bad stuff. I could fuckin’ fill five hours with that.” But he has begun to see some common threads that are, at the very least, indicators of scripts that could turn out great. “One of the things I’ve started to see in really good writing is that everybody, even secondary characters, has an arc, a journey,” he noted. “But also if characters have some self-awareness, it’s a big statement about the depth to which they’ve been written. Because it’s true in life. Ya know, if somebody got Donald Trump in a room and said, ‘You’re an egotistical asshole,’ there’s a chance he’d go, ‘I know.’ Because he does! He’s been told hundreds of times, and he knows it’s kind of true.

“And people do have that self-awareness. So when that’s written into the character, as it was in Fargo and certainly all over Saul, that’s what you should look for. If you just see a glimmer of the character knowing their own limitation, that’s a big statement.