Al is throwing down some drunken confessions tonight. I feel alright. I feel loved.
“He does still surprise me and he makes me hungry to work with him and see what he does and comes up with. [The Master] was something that I came up with because I wanted to spend more time with him. We’d worked together a lot, five times. But it was never enough. It was a supporting part or something like that. It never felt like we’d gotten super dirty enough together.” — Paul Thomas Anderson
When Madonna came out with her hit Vogue you knew it was over. She had taken a very specifically queer, transgender, Latino and African-American phenomenon and totally erased that context with her lyrics, “It makes no difference if you’re black or white, if you’re a boy or girl.” Madonna was taking in tons of money, while the Queen who actually taught her how to Vogue sat before me in the club, strung out, depressed and broke. So if anybody requested Vogue or any other Madonna track, I told them, “No, this is a Madonna free zone! And as long as I’m DJ-ing you will not be allowed to Vogue to the decontextualized, reified, corporatized, liberalized, neutralized, asexualized, re-genderized, pop reflection of this dancefloor’s reality!DJ Sprinkles, “Ball’r (Madonna-Free Zone)” from Midtown 120 Blues, 2008 (via prayforprada)
This is the book (or manual as I like to call it) that I produced as a part of my graduate exhibition two years ago, and is just a small part of a wider project and dissertation that explores women’s representation in punk scenes. I keep meaning to get it printed out and give a copy to those involved, but never have money, so I decided to just stick it up online. As with most college projects (well for me anyway) it got kind of rushed towards the end, so isn’t perfect. I’ve learned a lot more since then, and further developed many of the ideas. I’d love to go back and redo this book, but I like this version mostly because it reminds me of all the fun we had making it! Click the picture to read the full version online!