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Anaïs Nin, Leon Wyczółkowski

Kristin Hersh. Rare article from Discorder magazine (November 1999 issue), written by Anthony Monday with a picture by Patrick Hemingway.

“Trapped”

Stone Butch Blues - Leslie Feinberg

@/lilboyblueish on Instagram

Poem by Keaton St. James (@boykeats)

I/Me/Myself - Will Wood

We Both Laughed In Pleasure by Lou Sullivan

cis people asking cis questions by Silas Denver Melvin (@sweatermuppet)

Dora Maar, Photos of  Pablo Picasso’s Guernica in progress

The North Face at 50: Doug Tompkins, The Grateful Dead, and the Birth of a Movement

It was October 26th, and a wiry young climber named Doug Tompkins was having a party. Folk singer Joan Baez weaved her way through a crowd of leather-clad Hells Angels guarding the door before she disappeared into the haze of 308 Columbus Avenue. Inside, The Grateful Dead played to a crowd of Beat poets, dirtbag climbers, and hipsters. It was 1966 in San Francisco, California. And it was the grand opening of The North Face.

hi! sorry, real quick:

grab a piece of paper and fold it in half like a book

write "im indifferent to zines" on the cover

write "i've never been able to buy one" on the first page

write "and i'll never be in one" on the second page

write "just want to be a hater today" on the back

All it takes is one.

Your print run is not a zine, and you're not helping yourself by calling it one.

Those kickstarters that call themselves zines? A lot of the time they have really prohibitive license agreements with their artists specifically to deal with that mismatch in expectations.

License agreements people consent to because they want to be in a zine and don't know what that means. Because the term has become somewhat prestigious in its detachment from its roots, while still implying something very low cost and personal.

The Legacy of Saskatchewan’s Most Controversial—and Impactful—Artist Program

The infamous Emma Lake Artists’ Workshops were ad hoc, low budget, and falling apart. They also reimagined the possibilities of art

Emma Lake received a modest budget from the University of Saskatchewan and the province’s arts board in 1955, but the mandate was to invite working artists, not students. And Emma offered nothing of a typical education. There was no structure or oversight for the studio from one mentor to the next. In fact, the mentors were under no obligation to do anything at all. When researcher John King interviewed McKay for an oral history of the Emma Lake Artists’ Workshops — which offers one of the only comprehensive accounts of the early years — and asked why they started the program, McKay answered that they felt Saskatchewan “was a highly under-stimulated area; like, nothing was happening. It was far away from everywhere. We didn’t see any original things and the University provided very few grants for travel — so the only answer was to bring people here.”

Read more at thewalrus.ca.

In 1934, Hollywood photographer A.L. “Whitey” Schafer took this staged photo which mocked the Motion Picture Production Code (aka Hays Code), a set of moral guidelines that were applied to American films that were released from 1934 to 1968. The photo attempted to violate as many rules as possible in one image.

The Motion Picture Production Code stipulated the following:

“No picture shall be produced which will lower the moral standards of those who see it. Hence the sympathy of the audience shall never be thrown to the side of crime, wrong-doing, evil or sin. Correct standards of life, subject only to the requirements of drama and entertainment, shall be presented. Law, natural or human, shall not be ridiculed, nor shall sympathy be created for its violation.

Prohibitions on:

1. Nudity

2. Suggestive dances

3. Discussions of sexual perversity

4. Superfluous use of liquor

5. Ridicule of religion

6. Miscegenation

7. Lustful kissing

8. Scenes of passion”

[at Unicorn Fuck Club] Brandon Sanderson: hey robert what kind of magic rules do you have Sanderson: in my fantasy world, there's 18 laws of magic Sanderson: sorted into 23 categories and 65 sub-directories Robert Jordan: huh Jordan: well in my world, girls do girl magic and boys do boy magic

Sanderson: wait what? Jordan: girls do girl magic and boys do boy magic Sanderson: how does that work Jordan: saidin is stored in the balls

Jordan: why, how does your magic work Sanderson: ah well if you experience an emotion in my fantasy world Sanderson: then a sprite representing that emotion with physically appear and dance around Jordan: is that like Big Mouth then Sanderson: what Jordan: its a cartoon show Sanderson:

Sanderson: oh idk maybe Sanderson: i haven't seen it Sanderson: i only watch saturday's warrior on loop Jordan: look, i just think it makes sense Jordan: that the fundamental mystery powers of the universe would bisect neatly along binary gender lines JK Rowling: goddamnit!!! Rowling: why didn't i think of that

Rowling: ugh, inssstead i only have magic dividing people into uebermensssches and untermensssches Rowling: it could have been sssso much more!