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Risk Spaces: Octo Octa In Conversation With Terre Thaemlitz – Telekom Electronic Beats
TT: I’ve talked about this before, but like, I lived in Oakland for four years. And I was trying to figure out why or what it was about the San Francisco scene that was so off-putting for me—thinking more specifically in terms of queer and trans spaces. And it kind of came to me that it’s the place where all the repressed Midwestern people go to come out. So in a way the space has become a parody of itself with all these non-local people living out the fantasy of what it is to be queer.

MBM: Sure. It’s like they go because they think, “This is finally the place where I can do this, because it’s where I’ve always heard I’m allowed to do this.”

TT: But what the “this” in quotation marks becomes is this Midwestern fantasy of what it is to be a leather boy or transgendered or this or that. My last year there I thought, “I think this is kinda what’s going on here.”

MBM: I don’t have much of a sense of it. The Honey [Soundsystem] party I played was really fun, but I felt like I was one of the few trans girls in the space. I mean, it’s not like, a safety issue or anything like that—everyone was super great there and it was really fun. But at the same time—and I’ve had this recently in New York and just the parties I go to—but I don’t necessarily see a representation of me necessarily in those spaces.

TT: Sure. Well, I think that’s kind of like queerness in the more traditional sense. Not in terms of the reconcilable PrideTM stuff, but queerness that is something about being in a minor position­. Like, even being in the midst of a trans ghetto or a gay ghetto doesn’t guarantee that PrideTM formula of seeing one’s reflection in others. I just think that even in “safe spaces,” not “seeing oneself” is okay in the sense that…because it resonates with an experience of actual queerness, as opposed to an experience of PrideTM. You know? But whatever. We still get lonely.


TT: I think the drum & bass connection is a really big generational difference. I never got into drum & bass because it was so associated with techno in the hetero, white techno sense. The divide between techno and house only really came into place in the early ’90s. I was in New York at the time, and techno and house events just had such different crowds. And so from techno it went into drum & bass and that whole trajectory, and I never really got it.

/ Sprinkles i Japan
TT: There are still risks everywhere. Here in Japan, I often say that one of the things I like is that even if people hate you, the worst they can do is ignore you—as opposed to America, where they lash out. And coming from that context, silence becomes golden, right? Though if you’re raised in Japan, that silence is as aggressive as spit in the face. Last year I moved out to the Japanese countryside. I don’t own a cell phone. I do email and I have a website, but in some ways I’m still a little deliberately off the grid when possible. So I didn’t think about the fact that, when I moved here, the neighbors would start Googling me, you know? I’m basically surrounded by Japanese farmers in their 70s. One day I was out in my yard just doing some yard work, and the guy from across the street came up with a smartphone and was like, “Oh, is this you?” And he had the Where Dancefloors Stand Still mix on his smartphone. I was flustered for a minute because I didn’t know how deep he’d gone in terms of his searches, and I didn’t know if I was out as trans yet, and I didn’t know if, like, he’d seen the Japanese texts I’ve written that clearly put me on the left against the longstanding right-wing Jimintō political party. I didn’t know how deep it went, and I still don’t know. And then I was like, “Oh fuck, people are Googling me. These people are definitely checking out my website.” But it’s been okay. There’s been no positive or negative reaction. Except there was a positive reaction from that guy, actually. I said, “Yeah, that’s me.” And he was like, “Oh.” He went out into the field, and when he was driving back to his place later that night, he rolled down the window of his pickup truck and shouted, “House music!” I thought it was a good sign.

/ Høretelefoner / head space
MBM: I always just walk around with headphones on almost constantly listening to podcasts or audiobooks so that I can disengage as much as possible to get from space to space. I get tired of the looks and the stares and the comments…you know? I hate to use the term “micro-aggressions,” but…
trans*  queer  musik 
4 days ago by mlte
DJ Octo Octa on coming out as transgender: 'Everyone was confused, then it was OK' | Music | The Guardian
n the final track on the LP, Where Are We Going?, Bouldry-Morrison loops a vocal of the one question she was asked repeatedly after coming out as transgender – “Do you feel better? Do you feel better?”
trans*  musik  house 
4 days ago by mlte
Frederick R. Selch Collection of American Music History
About this collection
The majority of the items featured here represent a small portion of the visual materials (paintings, drawings, prints; photographs and tintypes; correspondence; posters, playbills, and other ephemera) from the Frederick R. Selch Collection of American Music History. Like the more than 6,000 books and 700 instruments that comprise the principle portion of the Selch Collection, these images date from the early 16th through the late 20th centuries. They depict the history, design and use of musical instruments and all manner of musical performance. Also included here are a small number of bound volumes of flute and piano scores from the collection.
frederick-selch  instrumente  musik  noten 
4 days ago by mandoisland
Crops (Gerco de Ruijter) on Vimeo
CROPS is a stopmotion film on centre pivot irrigation in the USA.
Long water-sprinkler arms rotate around a central pivot, irrigating circular fields of verdant crops in desert or semiarid environments. Often a well, located at the centre of the circle, pumps water up from vast aquifers in the rock formations below, or Rio Grande water is canalized and redirected into the deserts feeding the well. Once the Rio Grande reaches Mexico, it's riverbed has dried.
økologi  musik  kunst  vand  usa  mexico 
14 days ago by mlte
Decibel Dungeon, a DIY hi-fi site for hi-fi lovers.
Gute Einführung für DIY HiFi, Modding von Amps, CDP, Lautsprechern
DIY  Hifi  Musik 
15 days ago by analogmuff

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