Whatever you now find weird, ugly, uncomfortable and nasty about a new medium will surely become its signature. CD distortion, the jitteriness of digital video, the crap sound of 8-bit, all of these will be cherished and emulated as soon as they can be avoided. It’s the sound of failure: so much modern art is the sound of things going out of control, of a medium pushing to its limits and breaking apart. The distorted guitar sound is the sound of something too loud for the medium supposed to carry it. The blues singer with the cracked voice is the sound of an emotional cry too powerful for the throat that releases it. The excitement of grainy film, of bleached-out black and white, is the excitement of witnessing events too momentous for the medium assigned to record them. —
Brian Eno, A Year With Swollen Appendices (via fleurlungs)
(Source: volumexii, via hazelcills)
Seeking contributions for Working Class Queers zine #2 | Facebook -
Wanna contribute to Working Class Queers #2? Full info via the above link, including examples of the writing some folk have already sent in, or scroll down below for those of you not on Fb. Some inspiring submissions in so far! There is no theme for issue #2, though rage seems to be a predominant theme in the submissions I’ve had so far. Don’t be afraid to vent, queers – anger can be radical, necessary and productive! Some suggested subjects: #poordoors.
♥ Now accepting submissions for #2 of Working Class Queers! ♥
About Working Class Queers:
WCQ is a zine series about being queer and working class, and how those things (and others) intersect. WCQ #1 debuted at Queer Zine Fest London 2013.
You don’t have to be queer or working class to support this project – we welcome allies! – though you have to be both to submit to the zine.
About submitting to WCQ #2:
Submissions from all genders are welcome. The zine is UK centric by circumstance rather than design – submissions are open to w/c queers worldwide.
Max word count per piece is 500 (there may be room for more if you really need it - msg me). If yr a w/c queer of few words, and can say what you need to in one short paragraph/sentence, that’s cool too! Also happy to receive art/illustrations/comic strips (and/or text), be it hand-drawn, computer generated or a scanned in.
There is no theme for issue #2, though working class rage seems to be a predominant theme in the submissions I’ve had so far. Anger and rage can be radical! Don’t be afraid to vent. Also, it may help all you ponderers to know that people who submitted to issue #1 wrote about the following: what it means to be poor, queer, fat, immigrant, crip/disabled, marginalized, struggling, at-risk, policed, punk, intellectual, proud. They wrote about their experiences of class hierarchies in queer/feminist circles; about slang and accents; about the pwning and appropriation of DIY scenes; about queer complicity in gentrification; about the necessity of calling people up on their shit and about how poetry, books and libraries saved them.
If you grew up using slanguage and still use that ish (I did/do), don’t edit it out! Also, don’t worry about grammar etc. This is a comma fucker-free space.
Rough working deadline is Aug 30th 2014 (but this may be extended depending on all the usual life stuff: work, time, resource, schedules etc) so send me yr stuff as soon as you like. Msg me if yr struggling/unsure/new to zineing and I’ll see what I can do to help.
Here’s an excerpt from deathtothefascistinsect's excellent piece for Working Class Queers #2, Chippy Scraps.
“We eat chips, we do menial work, we hold grudges against our betters. I’m learning about being chippy at the same time as my own class identity is coming into focus. Today I found out that sometimes a sex worker is called a chippy, that makes sense.
Positivity is a word I dislike because it flattens the ambiguity and ambivalence that is central to being human, and guilt-trips those who insist on negativity. Positivity is a Tool of The Man, a means of keeping us in our places, of preventing us from baring our teeth, of making us docile and grateful. The academic Sara Ahmed has been exploring what it is to be a killjoy from the perspective of the feminist, the immigrant, the queer. Killjoys stare blankly at positivity. Chippy is part of this conversation too, a different way of saying similar things, perhaps it brings in class. Chippy is a problem because we should just be nice to each other and pretend that the inequality that is staring us both in the face does not exist. It’s not nice to be chippy, it’s too disruptive and impolite. Things must be kept smooth. Your silence is smooth to me. Be cool. There’s no reason to hold a grudge, it’s all in your mind. Look how kindly I am to you. It’s nothing to do with me. Stay positive! Cheer up! Smile!
These people are lucky that all they get from me is a bad thought, a look across my face, side-eye, a pursed lip, a feeling of distance, distrust. They’re lucky that I don’t burn down their places, trash everything they own and chase them down the street. I try and remember this when I am on the receiving end. All the things I could do! More if I joined together with other chippy people! Remember the guillotine! Even so, they begrudge the chip.”
Saturday Chores #8, Saturday, July 26, 2014.
The early birds.
For Willis, if your revolutionary thinking didn’t accurately reflect reality, it couldn’t change reality. In her version of liberation, sexual revolutionaries aren’t smug, performative hedonists who play out their fantasies in villas on Mustique; they wonder instead how thin the line is between courage and delusion while drinking coffee alone in their apartments or sitting on benches outside the Laundromat. And rock writers don’t turn their prose up to 11 to compete with the bands they’re covering, or get so bound up in the role of gnomic wizard that they can’t just shrug their shoulders and say, as Willis did, well, I was wrong about the Ramones; they admit to communing with what she called “the screaming teenager” inside. To Willis, acknowledging the real meant acknowledging that we are minds connected to bodies, and that what may not seem real at all — the unconscious and the psyche — are very powerful forces. Nearly every piece is a reminder that the culture we live in, even when we don’t profess its prevailing beliefs, has an effect on the psyche; that we internalize expectations even when we think we’re free; that we need to gather in groups to change our minds and the minds of others, because otherwise we stand alone in our pain and confusion, thinking that we’re the problem. — NYT, on The Essential Ellen Willis (via katherinestasaph)
Fall in love with someone who treats you like kanye treats kanye
Fuck fear. Fuck making your [work] worse to make it appeal to a larger group of people at a less intense level. — Kieron Gillen. (via softerthansound)
(Source: aintgotnoladytronblues, via softerthansound)
The National - Mistaken For Strangers - Uncut.co.uk -
Matt Berninger’s awkward little brother creates a strange and moving documentary…
Over 16 months since I first saw it, I ended up reviewing MFS for Uncut. No shit Sherlock alert: I like it a lot.
Feel lucky to have seen this tonight, if only in a cinema!
Cover to an upcoming PERFECT PUSSY + JOANNA GRUESOME split 7” record, which will include a 24 page comic by ME. This should be out sometime in the fall or winter, I’m pretty sure. I’m scrambling to finish drawing it all right now! I’m doing the entire book straight to ink, no pencils. It’s going to be totally bonkers.