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Thread: Feminine Pressure

  1. #151
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    Quote Originally Posted by luka View Post
    corpsey is one of us but he doesnt know it yet. hes like the librarian romantic lead who hasnt taken off his glasses and unpinned his hair yet.
    If Corpsey is Susan Sarandon in Witches of Eastwick, does this make you Nicholson?

  2. #152
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    :*

  3. #153
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    The inherent problem here is what is deemed masculine/feminine in binaries is often enforced to be gendered and has often followed such logistics. Cinematically the motion is the phallic action thrust and the background is the passive recipient. Cue that one scene from Nosferatu w/ the ship coming in and disrupting the still image with its front, a giant "SUP LADIES" of intent. Its however inconvenient to simply affiliate these attributes to the Gender, as much as they've been coralled into the Genders. The language is a bunch of bundles that have in many ways been weaponized, which is why Luka and Eden are having their row. Hell, fucking Dissensus is sadly a hypermasculine place of ideas so we'd never get to a better position either.

    But yes, how do you determine to whom the behaviors of the wilt and of the force belong to? Because exceptions exist.





    I'm coming up with a lot of examples of this disparity that sonically go away from the material that inspires it within Garage b/c we're dealing with a lot of inhuman sounds and the problem there is that what is the gendering of sound. Duke Ellington said "The Drum is a Woman", but people presume the melodic is the feminine, so where is the reality? How many great male rave vocalists were there, or samples? And by that right how many great MASCULINE vocal performances were used.

    A rap writer on twitter recently whined about "All the men are singers now and all the women are rappers" w/r/t rap in 2018 which is funny because





    in certain respects its true.

    So we really can't say what in say, garage is inherently feminine. Those drums might be masculine presences to some but feminine presences to others, and likewise for bass or for samples or whatever.

  4. #154
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    Quote Originally Posted by Benny B View Post
    Yeah you were and I reckon understand exactly what you were on about, I was just commenting on why confusion creeps in through some of the examples/language you used. Don't worry, i'm not about to derail your thread with politics
    Yeah thatís good. Also dialectics where opposites combine to make a new better thing.

  5. #155
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    So we really can't say what in say, garage is inherently feminine. Those drums might be masculine presences to some but feminine presences to others, and likewise for bass or for samples or whatever.
    it's hard to escape from the subjective yes. as i have kept saying and saying and saying masculine and feminine is how these binaries have traditionally been coded for obvious reasons but to take that too literally will get you into trouble.

    it's why i was very eager to avoid the discussion slipping into those areas. because it's idiotic.

    however, we usually think of hard as being the opposite of soft. we think of dry as the opposite of wet. we think of loud as the opposite of quiet. rough as the opposite of smooth. the curve as the opposite of the straight line. and so on and so forth.

    i'm not dreaming up some mad idea out of thin air.

  6. #156
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    and that when people talk about tunes being girly, or to coin a phrase, about feminine pressure, these are the kinds of ways they are thinking about it. not all binaries fit into this structure. for instance fast and slow do not.

  7. #157
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    and although reynolds was eager to distance himself from his own construct ("but but i meant females are fierce. like warriors!")
    a look at the descriptors in the article will show you what is going on. but he didnt make it up either. its been around for thousands of years and across cultural and geographic boundaries.

  8. #158
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    which is hardly suprising given the amount of dualities we see naturally occuring. our own bodies are roughly symmetrical for instance. an arm and a leg and an eye on each side. of course not everything falls into twos and im not claiming it does.

  9. #159
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    at the risk of stumbling headfirst back into the cringe pit

    i still wonder

    why did women leave the jungle dancefloors and flock to the garage dancefloors? (i've seen this said quite a lot by ppl who were there at the time, i'm taking it on pure faith cos i wasn't there)

    social conformity (vs. repressed taste)? an aggressive/threatening atmosphere?

    did the hard/dark techstep drum n bass help men feel more like 'men' and make women feel less like 'women'?

  10. #160
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    Quote Originally Posted by CORP$EY View Post
    at the risk of stumbling headfirst back into the cringe pit

    i still wonder

    why did women leave the jungle dancefloors and flock to the garage dancefloors? (i've seen this said quite a lot by ppl who were there at the time, i'm taking it on pure faith cos i wasn't there)

    social conformity (vs. repressed taste)? an aggressive/threatening atmosphere?

    did the hard/dark techstep drum n bass help men feel more like 'men' and make women feel less like 'women'?
    yes because it was shit is probably the right answer.

  11. #161
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    bartys just deleted his reply but that's what it said. "becasue it was shit"

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  13. #162
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    so more women have good taste than men?

  14. #163
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    oi corpse, me saying 'cause it's shit' doesn't warrant an anthropological dissertation.

  15. #164
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    i remember in 98 or 99 going, on consecutive days, to a drum and bass, and then a garage night, round the corner from one another
    and the difference in crowd was enormous. world dance was at stratford rex and it was almost entirely a suburban shipped in crowd and almost 100% white. it was very mechanical in its responses and all excitement was situated around the drop at which point lighters went up and shouts rang out in a very pavlovian way.

    (there was garage in the basement luckily)

    sheek 'n sexy was a short walk away on at what was then either club space or club eq and that crowd was seemed a little younger and was almost 100% black and mostly local. the music was better.

  16. #165
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    that 'when we make love, come in to me' is archetypal feminine pressure to me. sonically it's actually very tough; angular rhythm, buzzy bass, but there's something so immersive about it


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