And this tacked on ending to an obviously popular folk song tells you why you shouldn't be a poacher, even though the first 7 verses were very obviously about how cool being a poacher is.
You can see some of this in the structure of songs where some poacher has 7 verses of fucking with the groundskeepers successfully but a massive tone shift in verse 8 where they catch him and hang draw and quarter him.
Folk music represented a pretty wide range of rural working class aspirations and feelings over several centuries and there's a filtration process between that music as is and the gradual nationalisation and romanticising of it by those who preserved it into the 20th century trad folk revival.
A huge number of folk songs that had tragic morality tale endings in the officially collected versions of them had extensive folk traditions around people fucking, getting wasted, robbing the rich and winning, as much as they were about rape, infanticide, starving to death or whatever.
Adding to this further, because the film is drawing on the perspective that folk music is about love, loss, sex, death and tragedy (all of which is true) I think this reading of folk music also omits that folk music is routinely about crime, piracy, abandoning social duty and GETTING AWAY WITH IT.
I feel kind of betrayed by the realisation that this characterisation of "progress" as something that happens over time, due to "history" is a crock of shit...
So far as I can tell, progress (and regress) are something people _do_.
That's work, that is
Two more organisations have submitted calls for the UK’s Equality and Human Rights Commission (EHRC) to lose its important 'A' rated status as an equalities body. Further submissions have been made to The Global Alliance of National Human Rights Institutions (GANHRI), the UN body that rates Equalities Watchdogs worldwide, calling for the UK regulator the EHRC to lose its 'A' rated status.
It marks the fourth time in the last six years that the UK equality watchdog has faced challenges like this https://www.wearequeeraf.com/understand-the-lgbtqia-news-a-consequential-by-election-for-the-uks-democratic-system-and-the-fight-for-lgbtqia-rights/#%F0%9F%8C%90-ganhri
It's not just wrong because the present is good and the past was terrible, it's wrong because there had to be a vision in the past of demanding so much more while they specifically faced the oppression we use to characterise certain types of period drama.
One of the things that fucks me off about this march of progress perspective where historical retelling omits the ways people were able to survive and withstand hardship is that the hopes, dreams and courage of people past were the guarantee of every decent thing that has come to pass in the present
I think these movies are mainly for straight people to feel woke, not for gay people to feel sad.
We can honour the difficulty of the past without robbing our ancestors of their dignity further than it was already robbed.
Like it feels like fucking grave robbing to me. It's grave robbing. It's like those people who bring up black trans death but only in contexts that benefit white people not the black trans people who are dying.
Academics call it nevropolitics, but it's fucking grave robbing.
Even in fictionalised terms this objectifying perspective on the people who went through that torture and subjugation, rendering them at most as objects of abject pity and helplessness with nothing of their own about them feels like it is robbing already oppressed people of the past.
I don't want a rose tinted past. People have been through man made horrors that boggle the mind, and continue to go through them. But I think I'm sick of this way of using the past as a metaphorical language for irredeemable stripping of all hope from some of the most robbed in human history.
Frankly, Cabaret has a very similar vibe on that level at least - gay people in Weimar republic Germany finding love and laughs wherever they can get them with the inevitable threat of fascism (being adapted as it was from a semi autobiographical book by someone who actually lived in Weimar Germany)
Those who weren't killed were brutally and permanently scarred by it and still holding that flame alight into the future is the heart of the film.
Sinners masterfully reversed this wisdom of critically acclaimed cinema — in the Jim crow south, even if everyone wasn't going to be murdered by vampires they would be lynched in the morning by the Klan, and yet they had the juke joint, dancing & music because culture & life has to find a way.
Because the Inevitable And Continuous March Of Progress order of history needs to set present day comforts against a past of horrors, the oppressed of the past have no luck stealing joy from their oppressors in however fleeting of a moment.
I've been thinking about the way it also reflects similar tendencies in Slavery Films where (with the exception maybe of one ingenious black man who is the sole individual who has the sense to emancipate himself) there is 0 room for redemption or even desire for freedom for those suffering slavery.
I've just seen The History of Sound which is a beautiful film and an entry into the Sad Gay Film genre (obviously multiple of the gay dudes in the film are actually bisexual, nevermind that, the label of Sad Gay Film is sticking).
We need to abolish the sad gay film. It creates a version of historic "authenticity" where the horrors of censorship and homophobic state violence as told from the eyes of the state and dominant heterocentric society run rampant while the reality of historical queers getting away with it are stifled
The guy they're talking about is a democrat politician with the SS totenkopf
People who are career artists understand visual art unsurprisingly.
Yes pretty much every tattoo artist knows what Nazi symbols are
Not only does the person getting it know better, they had to find a tattoo artist who will know full well what it means and do it anyway.
It's not like "oh I got a tyr rune because of some bullshit and then found out it's used by Nazis". It's "I got an SS logo"
look ima need white people to stop explaining to me that every white dude is prone to get obvious Nazi tattoos in their 20s. the shit is not true. I know plenty of white military dudes who didnt get Nazi tattoos. This is not a widespread phenomenon.
move slow and repair things
Hacking
Mal's desk redux
I tidied my desk after this photo and it looks roughly zero better. Fml
