Dirty Librarian Thoughts



I. love. the. Anaconda. video. but the writeups I’ve been seeing keep referring to Drake as a co-star, which I think misses a big part of the point.

The reason this video rules is because Drake is an extra. Drake is a prop. Drake is a bro in the comfy-casual clothes that he rolled up to the set in, who has no lines or purpose other than the be ground upon, and whose face is obscured by shadows most of the time.

This is not a continuation of the Drake/Nicki/Rih media narrative. This is a dank-as-fuck feminist power play. This is, “Drake is whatever to me.” And this is a man who, if he isn’t at the top of his game, is close to it. A huge celebrity. And here is Nicki looking fucking amazing, tormenting him into a boner, then swatting his hand away and walking out of frame.

Your anaconda don’t want none unless she got buns, hun? Maybe she doesn’t want your anaconda. Maybe she’ll do whatever the fuck she wants with her buns, and it doesn’t matter what you think or feel.

(via iamjard)


Out of the Closets, Into the Streets: Gay Liberation photography 1971-1973 at Edmund Pearce Gallery, Melbourne

1. Phillip Potter. Gay is Good,1971, printed 2014

Digital C type print on Kodak Endura Matte
© Phillip Potter

 2. Phillip Potter. Queens, 1971

3. Ponch Hawkes.Gay Liberation march, Russell Street, Melbourne. Melbourne, 1973

4. Rennie Ellis.The Kiss, Gay Pride Week, Melbourne 1973. Silver gelatin photograph. © Rennie Ellis

5. Barbara Creed.Julian Desaily and Peter McEwan in the back of a VW Combi van, Melbourne. Melbourne, c. 1971-73. Digital C type print on Kodak Endura Matte. © Barbara Creed

6. John Englart.Dancing with the Hare Krishnas in the Sydney Domain. Sydney, 1973.Digital C type print on Kodak Endura Matte. © John Englart

7, 8 & 9. Anonymous. Graffiti on Melbourne streets.1971-73

(via queeruption)


naomi campbell photographed by wolfgang tillmans for vogue us nov ‘97


naomi campbell photographed by wolfgang tillmans for vogue us nov ‘97

Coco Fusco Says Fuck Authenticity.

  • Coco Fusco: We were trying to blast this myth that the non-Western Other exists in a time and place that is completely untouched by western civilization or that in order to be authentic one would have to be devoid of characteristics associated with the West. It’s reasonable to say that non-Western cultures have a better understanding of Western civilization than Western civilization has of other cultures. In any case, we introduced into the cage some elements that shocked and bothered many people and became the focus of a lot of questions put to the zoo guards. People said, “How could we be authentic if he smokes Dunhills? How could she really know how to use a computer if she is from this undiscovered island? Why is she wearing Converse high tops?” Everything they viewed as part of their world, they didn’t want us to have. That would mean that we were inauthentic. However, if you see Conchero dancers in Mexico City, they do wear Converse high tops and Adidas and Nikes. They probably listen to hard rock when they are not dancing to traditional music. We wanted to make fun of this very Euro-centric notion that other people operate in a pristine world untouched by Western civilization.
  • Guillermo Gomez-Pena: To me, authenticity is an obsession of Western anthropologists. When I am in Mexico, Mexicans are never concerned about this question of authenticity. However, when I am in the United States, North Americans are constantly making this artificial division between what is an “authentic” Chicano, an “authentic” Mexican, an “authentic” Native American in order to fulfill their own desires. Generally speaking, this authentic Other has to be pre-industrial, has to be more tuned with their past, has to be less tainted by post-modernity, has to be more innocent and must not live with contemporary technology. And most importantly, must have a way of making art that fulfills their stereotypes; in the case of Mexico—Magical Realism.
  • Coco Fusco: This fetish about authenticity is connected to an idea that the non-Western being doesn’t have a sense of reflexivity about him or herself. I think, for example, of the videos being made now by Kayapo Indians in the Amazon. I was at a conference this year where American academics questioned the Kayapos’ interest in filming themselves filming and editing. They want to talk about the process while they’re making it and that blows American academics away.
  • Guillermo Gomez-Pena: The bottom line is they don’t want us to be part of the same present or the same time. They want us to operate outside of history.