[seanmorroww]

Fauzia - "Without Me"

I Was Here for a Moment [Mexican Summer, 2026]

[floatingintossspace]

😍

[filmstillsforever]

Jamón Jamón (1992) dir. Bigas Luna

[glisteningstarlet]

Penelope Cruz - 1993

A classic velvet ensemble paired with a signature 90s blowout

[mumma-moonchild]

[aloneandforsakenbyfateandbyman]

Penelope Cruz in Jamon Jamon (1992)

[othersidesofnobody]

Antonio Gades Cristina Hoyos

[throughaglassdarkly1961]

Antonio Gades

Bodas de sangre (1981), dir. Carlos Saura

[throughaglassdarkly1961]

Carmen (1983), dir. Carlos Saura

[julio-viernes]

Imágenes muy comentadas y admiradas en la red social. Antonio Gades le pide a Ricardo Sáenz de Heredia que le de ritmo para bailar, y los Shakers se arrancan con “All Day And All Night” de los Kinks. Se ha puesto como primitivo ejemplo de fusión flamenco- rock y, aunque la escena es chula, la combinación música- danza es como agua y aceite, no pega, por no decir que ambas cosas se dan de leches (silente resulta bastante mejor). 

Viejos antecedentes del actual mestizaje de Rosalía (lo suyo no me interesa, correcta combinación de rap, niu aranbí y flamenqueo siempre exótico para oídos foráneos) fueron cosas sueltas de Brincos, Cheyenes, Tomcats o Ángeles Azules y más tarde, y sobre todo, Smash, Triana y Veneno. Sin olvidar a las mujeres Dolores Vargas “La Terremoto”, Encarnita Polo, Rosa Morena y Lola Flores.

[sivavakkiyar]

[figural]

[romdocitizen]

bodas de sangre (1981) dir. carlos saura, choreography by antonio gades

[mycatstupid7]

Todo todos dejarte pisar una vez

Porque si dejarte pisar una vez

Te machacaran

Antonio Gades

[spergiuro]

A fetish is an erotically endowed object that someone can possess and control, yet, paradoxically, the fetish seems to control or possess the person who thinks she possesses it. It turns a story of masculine desire for women into a story of victimization by women that ends up in a scenario of heroic repair. Fetishism is fundamentally an aesthetic crisis: just as the Medusa petrifies whoever looks at her face, the boy, shocked at his mother’s genital difference from him, displays his realization on his body.

He becomes stiff (as in scared and as in erect);

he visualizes pubic hair teeming with snakes (or penises) in the hair on his mother’s head. In other words, the boy’s body and sensorium produce representations of the mother’s lost, castrated penis: the fetish is that which represents the object, its presence, and its absence. Its magic is that it protects the boy from experiencing absolute loss. Frequently, it is something the boy associates with the floor beneath his mother’s dress or other surfaces associated with her (shoes, embroidery, fur). As such, the fetish enables desire to be controlled, to be manageable, to be comprehended, signified, and also screened out by the material form. Moreover, the fetish has no uniqueness nor singularity, like the penis; it can always be possessed, reproduced, replaced, and collected. Thus it encompasses value and valuelessness, and construes desire through aggression and protectiveness. But the contradictions and pursuit of pleasure comes under the sway of the reproductive function and in which the component instincts, under the primacy of a single erotogenic zone, form a firm organi-zation directed towards a sexual aim attached to some extraneous sexual object.” To the extent that this “extraneous sexual object” enables the desiring subject to deny his ambivalence on behalf of attaining sexual and intimate normalcy, his desire is fetishistic: that is, the fetish reproduces the general structure of desire, which is an activity that aims at repeating pleasure by finding substitutes for a lost or unstable object.

Freud’s account of the accession of girls to heterosexual femininity through “reverse” Oed-ipalization has all the quality of a bad copy: sometimes he argues that the process is simply transposed, such that the girl’s identification with her mother and object-cathexis on her father come into crisis with the same con-joining of aggression and masochism as he finds in boys. He also argues that girls are not as motivated as boys to move through Oedipal-ization to discipline by the super-ego because girls are always already castrated, and thus unprovoked by its threat. This suggests to Freud that women therefore develop weaker super-egos, a weaker sense of justice, a more and structures induced by the world as a sovereign, autonomous force relative to the constantly changing institutions of social life.

But psychoanalysis also has shown that one’s own incoherence-in-ambivalence meets up with the incoherence of social aims and demands in ways that either mirror each other or induce multiple fantasies of relief and repair. It has been suggested that the lack of fit is an un-bridgeable space or aporia covered over by ideology, which so successfully produces subjects who see the world from the perspective of their own individual stories that other more structural explanations of subjectivity seem themselves to violate the specificity and uniqueness of each individual’s identity in the world.

[spergiuro]

What does it mean to take debt out of the closet? To take each individual’s, each household’s, each family’s debt out of the closet, first we have to talk about it. It means narrating it and conceptualizing it in order to understand how it functions; investigating how it is interwoven with different economies. It means making visible how it extracts value from certain forms of life and how it intervenes in processes of production and reproduction of life. It means asking: In which territories does it gain strength? What types of obedience does it produce? Taking it out of the closet means making it visible and situating it as a common problem, de-individualizing it. Because taking debt out of the closet involves challenging its power to shame and guilt and its power to function as a “private issue,” which we can only face by managing our accounts alone.

Taking debt out of the closet also means showing the differential way in which debt operates for women, for lesbians, and for trans people.

It requires inquiring into the differential of exploitation that is created when the indebted – those of us who spend all day managing accounts – are women, housewives, female heads of households, formal workers, popular economy workers, sex workers, migrants, inhabitants of the villas or favelas (informal settlements or slums), Black and Indigenous women, travestis, campesinas, or students. Both moves – visibilizing debt and showing its sexual and gender difference – are ways of removing its power of abstraction. Both moves are also inscribed within a geopolitics: the subjectivity of an indebted North American private university student is not the same as that of a subsidized worker in a cooperative in the largely migrant neighborhood of Flores in Buenos Aires.

Therefore, it is not merely a matter of confirming “the making of the indebted man,” as Maurizio Lazzarato (2012) does, postulating a universal subjectivity of the debtor-creditor relation, but rather of highlighting two fundamental elements that he does not take into account: gender differences and the power of disobedience. On the one hand, gender difference operates differently in regards to debt. That is due to several reasons, since that difference supposes: (1) a particular form of moralization directed toward women and feminized bodies; (2) a differential of exploitation due to the corresponding relations of sub-ordination; (3) a specific relation between debt and reproductive tasks; (4) the concrete impact of sexist violence, to which debt is connected; and (5) fundamental variations in possibilities “for the future” involving financial obligation in the case of feminized bodies. On the other hand, we want to highlight the possibility of disobeying debt (...). This does not deny the fact that debt is a transversal apparatus of exploitation (Lazzarato 2015), which operates by capturing the production of the common (Terranova 2017). However, we see a critical need to affirm that there is not a singular subjectivity of indebtedness that can be universalized nor a sole debtor-creditor relation that can be separated from concrete situations and especially from sexual, gender, racial, and locational difference, precisely because debt does not homogenize those differences, but rather exploits them. The way in which debt lands in diverse territories, economies, and conflicts is central, not a secondary feature.

In this sense, taking debt out of the closet is a feminist response to debt:

it is to de-enclose it, de-privatize it, and give it a body, a voice, and a territory. Then, building on that, it investigates experiments in modes of disobedience. Therefore, there is a third move (after its deconfinement and corporealization) that is inseparable from this feminist gesture: conspiring to defy debt. This is not only an analytical perspective, but rather an analysis that itself forms part of this program of disobedience.

Taking debt out of the closet is a political move against guilt, against the abstraction exercised by the domination of finance, and against the moral argument that women are “good payers,” which is used to legitimize targeting feminized bodies as the favored responsible subjects of financial obligation.

[spergiuro]

La panchina ha qualcosa della vecchia borghesia. E da bimbo ho passato molto tempo a mangiare gelati su panchine di Modena con prozie molto borghesi e benestanti, che mi rac-contavano bellissime storie. Ogni volta che sto su una panchina mi viene in mente che uno dei capolavori di Beckett, l'unico suo scritto forte-mente autobiografico, è ambientato su una pan-china che guarda una particolare finestra. E in ogni caso se vedo varie panchine mi viene subito da pensare a Proust, non so il perché. Mentre tutte le volte che vado in posti dove non ci sono panchine capisco che sono luoghi dove non è stata progettata una bella vita. Mi sembrano un po' dei buchi di culo di città. Dunque se una cit-tà vuole diventare un buco di culo di città a me va benissimo, ormai io potrei essere felice anche dentro un cesso, mi arrangio a modo mio.

[cosechadehuellas]

"Tengo muchos motivos de tristeza interior y exterior, como cualquier persona; pero eso no me quita que viva esperanzado y consolado. La poesía es un gran consuelo.

Recuerdo un poema chino, anónimo, escrito hace tres mil quinientos años: un pastor cuida el rebaño, con un frío intenso, lejos de su mujer que está en el hogar y la imagina al lado del fuego, cosiendo.

El último verso dice: “Él escucha el ruido de sus tijeras bajo la noche profunda.”

El hecho de que ese poema se haya escrito hace tantos años y todavía nos emocione, quiere decir que hay un tejido humano imposible de romper, una capacidad de belleza imposible de aniquilar."

Juan Gelman

[steelnail]

[vidamor-regret44]

Trigo maduro hay en tu pelo . . .