@tarfumes.bsky.social
musician - composer studied with Arthur Brooks, Bill Dixon, and Milford Graves member of the Arthur Brooks Ensemble V percussion + electronics https://mattweston.bandcamp.com Albany, NY Free Palestine 🇵🇸 Hands off Lebanon 🇱🇧
Cecil Taylor - Piano
Sunny Murray - Drums
Henry Grimes - Bass
Jimmy Lyons - Saxophone
I've never in my life seen a culture war issue that wasn't a class war issue. The working class isn't white cishet abled dudes.
Fighting against imperialism and for a Free Palestine IS class war because the Global Majority IS the working class. Fighting for Muslim equality IS class war because Muslim people are the working class. And on, and on.
Fighting for liberation for disabled people IS class war because disabled people are the working class. Fighting for immigrants IS class war because immigrants are the working class. Fighting for Indigenous sovereignty IS class war because Native people are the working class.
I'm as much "no war but class war" as the next girl. But to me, fighting institutional racism and for reparations IS class war because Black people are the working class. Fighting for trans rights IS class war because trans people are the working class.
The problem with "culture war is a distraction from class war" is that "culture war" isn't an abstraction and the people harmed by institutional bigotry are every bit as real as the people harmed by wealth and income hoarding.
In fact, they're often the same people.
Culture war IS class war.
The annoying thing for me as a confirmed dog person is that this absolutely checks out. Those are all, indubitably, cat music.
From what others have told me, the film mostly/only played the midnight movie circuit in the US, but it perfectly coincided with — to the tiny extent this was possible — a “mod revival,” e.g., rows of Vespas parked outside the Jam show at the Santa Monica Civic.
The playful, prolific use of hyperlinks in online journalism (eg Slate, Pitchfork) didn’t anticipate link-rot. Now so many articles are pock-marked with cryptic allusions that some long-dead link once explained. Weird how quickly a new style comes to feel more archaic than the traditional format
I didn't know this, but of course there's a *reason* I always say "there's no first anything".
(Pretty certain Les Paul will have been the first one to use tape though as at the time it was basically only him and Bing Crosby using tape for anything other than storing radar information)
Gonna learn what capitalists actually worship real fast I guess
![Black and white photo of Ornette Coleman. He is dressed in a suit jacket and tie, and playing a white plastic alto saxophone. The caption is a quote from Coleman which reads: "Now I didn't call the music I was doing ‘free jazz.' Someone [at the Atlantic record label] named it that, put a Jackson Pollock painting on it and called it ‘Free Jazz.’”](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:6j6sjnlz6y7zhanryp7yshy3/bafkreifkdeglyn26z3ta3beelkfcqxdvsptmivczstmo6ug4ybqjzykzei)
going back to thinking about The Who after @andrewhickey.500songs.com's post and how effective they were at building big loud riffy jams around intense existential crises you wind up carrying long after you outgrow your teen angst
They did this in the Lebanon War in 2006: they just bombed anything that looked like it had any social or economic value - bakeries, ports, factories, on and on, then told the world every single one was a military target. It was all lies then, just as it has been for years here.
Lebanon’s Ministry of Health reports 394 people died since Monday from Israeli attacks.
22 percent of those are children. That’s 86 children in a week.
Maybe we should be clearer. Jobs aren’t at risk from AI. They’re at risk from amoral shitbag short term spec capitalists using AI against a weakly unionised workforce and broken government.
I just don’t get people who can’t live without algorithms to do their own discovery for them. The discovery process has always been part of loving music for me.
We are outsourcing our taste-making process. We are outsourcing part of the identity-making process, and that scares the shit out of me.
I’ve lost count of how many times I’ve played “I Can’t Reach You” or “Armenia City In The Sky” for people who only knew the US radio hits — the reaction is *always* “That’s the Who?!”
Townshend played electric during the latter 1/3rd or so of each show on the ‘89 tour. He did have a “quiet” section of the stage — as far from Entwistle’s rig as possible — but played electric through preamps into direct boxes plugged into the PA.
I often forget just how important the Monkees are to me. There are very few bands whose music gets to me as deeply. Which to about 95% of you will sound like a ridiculous statement, but the 5% who get it will get it.
Counterpoint: Charles Mingus deserved every penny he had coming to him for his revolutionary jazz music and cat toilet training guide.
Epic article on Palestine by @rafeefz.bsky.social just published by @devandchg.bsky.social based on her keynote at the recent AHE conference.
"Development as Erasure: Palestine, Genocide and ‘Reconstruction’"
A must read!
onlinelibrary.wiley.com/doi/10.1111/...
Fucking burn it down
Epic Fury’s frontman asked to leave Warped Tour after inappropriate behavior
I briefly worked on a tour Neko Case was on in 2007. Hearing her sing every night was the absolute highlight of that experience.
I dunno but lying in the dark blasting Xenakis' Persepolis at ear-splitting volume seems a very apt response to the current world situation
Fun fact: between 1970 and 1975, Ringo had more US top 10 hits than John and George combined, and only two fewer than Paul.
The other thing I forget unless I'm actually watching Elvis shows is what a *monster* drummer Ronnie Tutt was. Keith Moon and Animal clearly both watched him and thought "I need some extra arms to keep up".
