weekend links: Hugo Awards, Genesis P-Orridge, Austin arts feud

Genesis P-Orridge
Genesis P-Orridge

Genesis Breyer P-Orridge. Image appears via Dazed/genesisbreyerporridge.tumblr.com.

The Hugo Awards were presented last Saturday, honoring the best in science fiction writing—only this year, “No Award” swept most of the categories. To understand why, we must explore a treacherous world of Sad Puppies, Rabid Puppies, Social Justice Warriors, and the hurt feelings of angry white men. Godspeed, and may the Force be with you. [Wired]

In the wake of Dr. Dre’s recent apology to the “women he’s hurt,” the music industry is once again looking inward at the misogyny and abuse that runs rampant through its quarters. Here is but a smattering of the depressing behavior that goes on when the mic is off. [The Daily Beast]

In this podcast, Throbbing Gristle/Psychic TV's Genesis Breyer P-Orridge talks with Against Me!’s Laura Jane Grace about trans identity, the erasure of gender, and Caitlyn Jenner. For anyone not familiar with P-Orridge and h/er thoughts on the human body, this provides a fascinating, essential introduction. [Dazed]

In more LGBT-related controversy, Duke students made national headlines this week for refusing to read Alison Bechdel's graphic memoir, Fun Home, because they alleged that it was "pornographic." You would think you'd have to know what "pornographic" means to get into Duke University, but apparently not. [Vox]

In a video published August 13, Glasstire editors Rainey Knudson and Christina Rees discussed the five most interesting art exhibits opening in Texas that week. But their critique of a show at Austin’s grayDUCK Gallery proved controversial, and a number of artists lambasted the pair for habitually throwing shade at the Austin arts community. Watch the video, then scroll through the comments and watch the drama unfold. [Glasstire]

Our friends at The Austin Review have a new story up on their website, to help tide us over until the release of issue 4. Here’s to hoping it comes out soon. [The Austin Review]

—Sean Redmond

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