Though Stevens had announced plans to make an album for each of the 50 U.S. states, beginning the series with the albums 'Michigan' (2003) and 'Illinois' (2005), he has since then somewhat retracted the statement. "Sufjan Stevens is not going to write a record for each of the 50 states after all" was the original text included on the online liner notes for 'Mews Too: An Asthmatic Kitty Compilation' , a disc released on February 7, 2006. This statement was possibly included as a joke, as the text has since been removed and the current liner notes related to Sufjan Stevens reads: "Sufjan Stevens can fold a fitted-sheet (he once worked as a professional folder in a commercial Laundromat)."
Background
Stevens was born in Detroit, Michigan, and grew up in the city of Petoskey in that same state. He attended Hope College on the west coast of Michigan.
The name Sufjan is an Arabic/Persian name that predates Islam and most famously belonged to Abu Sufyan, a figure from early Islamic history. It has been mentioned in the press that the name was given to Stevens by the leader of Subud, a spiritual sect to which his parents belonged when he was born. Stevens has stated that the name is of Armenian origin and means "comes with a sword," and that it is "a charming militaristic Muslim name." In fact the name is not Armenian, and Armenia is a predominantly Christian country.
Sufjan is also the plural form of Sufi in Persian . Sufi is a practitioner of Sufism .This word is frequently used in the old Persian literature ,specially Sufi poetry .
His brother, marathonist Marzuki Stevens, has trained to compete in the 2008 Olympic trials, and has played on two of Sufjan's albums.
A multi-instrumentalist, Stevens plays the banjo, guitar, drums, and several other instruments, often playing all of these on his albums through the use of multi-tracking. While in school, he studied the oboe and English horn, which he also plays on his albums; he is one of the few musicians in popular music to use these instruments.
Career
Sufjan Stevens began his musical career as a member of Marzuki, a folk-rock band from Holland, Michigan. He also played (and continues to play) various instruments for Danielson Famile. While in school at Hope College, Stevens wrote and recorded his debut solo album, A Sun Came, which he released on Asthmatic Kitty Records, a record label he founded with his step-father in 1999. He later moved to New York City, where he was enrolled in a writing program at the New School for Social Research.
While in New York, Stevens composed and recorded the music for his second album, Enjoy Your Rabbit, a song cycle based around the animals of the Chinese Zodiac that ventured into electronica.
Stevens followed this with the first of his 50 states albums, a collection of folk songs and instrumentals inspired by his home state of Michigan. The result, the expansive Michigan, included odes to cities including Detroit and Flint, the Upper Peninsula, and vacation areas such as Tahquamenon Falls. Melded into the scenic descriptions and characters are his own declarations of faith in God, sorrow, love and the regeneration of Michigan.
Following the release of Michigan, Stevens compiled a collection of songs recorded previously into a side project, the Christian folk album Seven Swans, which was released in March 2004.
Next he released the second in the 50 states projects, entitled Come On Feel The Illinoise!. Among the subjects explored on Come On Feel The Illinoise! are the cities of Chicago, Decatur and Jacksonville, the serial killer John Wayne Gacy, the poet Carl Sandburg, and Mississippi Palisades State Park.
He has contributed to the music of Denison Witmer, Soul Junk, Half-handed Cloud, Brother Danielson, Danielson Famile, Serena Maneesh, Castanets, and Liz Janes. He played piano on for fellow Brooklyn musician's The National's album 2007 Boxer. A cover of "She Is" is included on the album Dream Brother, released in the United States on January 31, 2006.
Sufjan contributed a lot to the sound of the 2001 Liz Janes album Done Gone Fire as he engineered, recorded, produced and arranged it as well as playing many addition instruments.
Sufjan recently recorded with Rosie Thomas and Denison Witmer playing banjo and providing vocals. It is unknown how this record will be released. In April 2006, Pitchfork erroneously announced that Stevens and Thomas were having a baby together, but were forced to print a retraction. Witmer and Thomas later admitted it was an April Fools' prank.
The Fifty States Project
Beginning with Michigan, Stevens announced an intent to write an album for each of the 50 U.S. states, although in interviews he wavers between utter sincerity and self-deprecating irony when describing the idea.
Stevens spent the second half of 2004 researching and writing material for the second of these projects, this time focusing his efforts on Illinois. As with Michigan, Stevens used the state of Illinois as a leaping-off point for his more personal explorations of faith, family, love, and location.
The widely acclaimed Illinois was the highest rated album of 2005 on the Metacritic review aggregator site, based on glowing reviews from Pitchfork, The Onion A/V Club, Spin, Billboard, Entertainment Weekly, Rolling Stone, The New York Times, and The Guardian. The 2006 PLUG Independent Music Awards awarded Stevens with the Album Of The Year, Best Album Art/Packaging, and Male Artist Of The Year. Pitchfork Media and Paste Magazine named Come On Feel The Illinoise! as the editors' choice for best album of 2005 and Stevens received the 2005 Pantheon prize, awarded to albums selling 500,000 copies or fewer, for Come On Feel The Illinoise!. In April of 2006, Stevens announced that 21 pieces of music he had culled from the Come On Feel The Illinoise! recording sessions would be incorporated into a new album, called The Avalanche. The album was released on July 11, 2006.
While there were other projects rumored to be released following 2005's Illinois, by 2009 and his live album The BQE, he was seemingly finished with the project, calling it "Such a joke", and accepting that the project was too massive and too cliché to ever reach an end.
Religious themes
Many of Stevens' songs have religious and spiritual allusions, but his album Seven Swans has the most direct religious references. Stevens has expressed that he is Christian, but does not overtly advertise this aspect of himself in his music. Stevens has also stated that he does not try to make music "with a message", or music for the sake of preaching. "I don't think music media is the real forum for theological discussions," says Stevens. "I think I've said things and sung about things that probably weren't appropriate for this kind of forum. And I just feel like it's not my work or my place to be making claims and statements, because I often think it's misunderstood."
The songs 'Abraham', 'Seven Swans', 'To Be Alone With You', 'We Won't Need Legs To Stand' and 'The Transfiguration' directly address Christianity on the album Seven Swans. In 'Abraham', Sufjan recounts the Old Testament story in the Book of Genesis when Abraham, ordered by God as a test of faith, leads his son, Isaac, up a mountain and prepares to kill him, as commanded (but before God sends an angel to intervene). The lyrics of 'The Transfiguration' follow the Biblical accounts of Jesus' Transfiguration in Matthew 17:1-8, Mark 9: 1-8, and Luke 9:28-36.
Michigan and Come On Feel The Illinoise! are packed with Christian references and metaphors. Michigan contains "Sleeping Bear, Sault Saint Marie", which implores "Oh Lamb of God! Tell us Your perfect design and give us the rod" ("Lamb of God" being a Biblical name for Jesus Christ). The song "Oh God, Where Are You Now?" asks God to "hold me now", to "save somehow", searching for God in the midst of personal turmoil. "There's no other man who could save the dead," the song states. The album closer, 'Vito's Ordination Song', was apparently originally written for Sufjan's friend Vito Aiuto, and its lyrics allude directly to Psalm 139 ("I always knew you. In your mother's arms, I have called your name", "I've made a crown for you"). The song speaks of "When the bridegroom comes" - the New Testament speaks of Jesus Christ as being the Bridegroom and the Church His Bride, finally being united together at the End of Time.
Come On Feel The Illinoise! features the song 'Chicago' with its refrain of "You came to take us, to recreate us", and 'Decatur' has the chorus of "It's the great I Am" ("I Am" being the name the Lord reveals Himself by to Moses in Exodus 3:14). "Casimir Pulaski Day" speaks of "All the glory that the Lord has made" in the midst of personal pain and loss. "The Predatory Wasp of the Palisades Is Out To Get Us!" has the lyrics: "Lamb of God, we sound the horn. Hallelujah!" One instrumental passage has the title of "In This Temple as in the Hearts of Man for Whom He Saved the Earth". "The Seer's Tower" speaks of Emanuel, "With His sword, with His robe He comes dividing man from brothers" (an interesting side note is that "Sufjan" actually means "comes with a sword"). Indeed, the vast majority of songs of Come On Feel The Illinoise! contain lyric lines which can be readily identified as having a basis in Stevens' faith in Christ.
Sufjan's second, electronic album, Enjoy Your Rabbit, contains a song cycle based on of the animals of the Chinese Zodiac, culminating with the song "Year of our Lord". Stevens released the original, Christian-themed song "God'll Ne'er Let You Down" on the "To Spirit Back the Mews" compilation on Asthmatic Kitty. The officially unreleased Christmas albums Sufjan Stevens made and then compiled into Songs for Christmas feature suitably Christmas and Christian themed music, both originals and covers of hymns and traditional songs.
Trivia
On Snow Patrol's 2006 album Eyes Open there is a reference to Sufjan and the song "Chicago" in the song "Hands Open" - "Put Sufjan Stevens on and we'll play your favorite song/"Chicago" bursts to life and your sweet smile remembers you."
Sufjan has twice been featured on the FOX television show "The OC". "To Be Alone With You" and "For The Widows In Paradise, For The Fatherless In Ypsilanti" can be heard on episodes 202 and 315, respectively.
Sufjan Stevens' music has appeared twice on the Showtime dark comedy "Weeds". "All The Trees Of The Field Will Clap Their Hands" appears on S1E02 over the end credits, and "Holland" appears near the end of S2E10.
Two of Sufjan's songs appear on the soundtrack to "Little Miss Sunshine": "Chicago" and "No Man's Land"
The song "John Wayne Gacy, Jr." appears on the 3rd season of the tv show "Nip/Tuck".
Several songs can be heard on the movie "Driving Lessons"
You can also hear snippets in between CSI shows on 5US
In the TV show "Austin City Limits", he mentioned that when he was a kid, he and his best friend saw something in the sky which they couldn't figure out. They thought it was a spaceship or UFO first, then an eagle or a dragon. Finally they realized it was a giant wasp. He wrote the song "The Predatory Wasp of the Palisades is Out to Get Us!" about the incident and mentioned that the reason they (the band) all have wings on stage is to overcome his fear of flying things.
The song "Redford (For Yia-Yia & Pappou)" is heard in the 2012 "World of Red Bull" television commercial. he is quoted as saying "selling out never looked so good." and "somebody had to pay for all of that Christmas confetti." referring to his recent Christmas album and supporting tour.
In 2017 Stevens wrote two Original Songs to be featured in the gay drama film “Call me by your Name”, entitled “Mystery of Love” and “Visions of Gideon”. He also made a reworked version of his Song “Futile Devices” which is also featured on the soundtrack.
Website:http://sufjan.com
Cimmerian Shade
Sufjan Stevens Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
I cannot love from my prison of shame
In Cimmerian Shade
I'll keep her safe from the well, tailor made
I just want you to love me
I just wanted to know myself
Beauty resides where your spirit dwells
My starling flies into the rainbow
Lost in the mist, chrysalis, kill your idols
Safe in my autogynephilia
One black witch moth, now she's lost in the meadow
I just want you to love me
I just wanted to change myself
Fix it all, Jonathan Demme
Beauty resides where your spirit dwells
I just want you to love me (just want you to love me)
I just wanted to change myself
Fix it all, Jonathan Demme (fix it all, Jonathan Demme)
Beauty resides where your spirit dwells
Save me from everything I ask for
Soil from the sod, Lamb of God, rest in peace
I'm still just running from the answer
Safe in the cell, kiss and tell, my Clarise
I just want you to know me
I just wanted to love myself
Fix it all, Jonathan Demme
Beauty resides where your spirit dwells
I just want you to know me (I just want you to love me)
I just wanted to love myself
Fix it all, Jonathan Demme (fix it all, Jonathan Demme)
Beauty resides where your spirit dwells
I just want you to love me
I just want you to love me
I just wanted to love myself, I
I just want you to love me
I just want you to love me
I just want you to love me
I just wanted to love myself, I
I just want you to love me
I just wanted to love myself, I
In "Cimmerian Shade," the first line "The lamb cries 'til ears ring" could be interpreted as the singer feeling overwhelming guilt and shame, possibly for past mistakes. It's as if the singer is unable to escape the constant reminder of their wrongdoing, represented by the lamb's cries, which are deafening. The second line "I cannot love from my prison of shame" further emphasizes this feeling of being trapped and unable to move forward. The singer can't love freely or be vulnerable with others because they are locked in a cycle of shame.
The chorus "I just want you to love me / I just wanted to know myself / Fix it all, Jonathan Demme / Beauty resides where your spirit dwells" seems to illustrate the singer's yearning for love and acceptance, both from others and from themselves. They want to be loved for who they truly are, beyond the shame and guilt that they are currently mired in. The reference to Jonathan Demme, a filmmaker who directed the iconic film "The Silence of the Lambs," might represent the singer's desire for a way to "fix" or escape their current state of being.
The verses that follow contain vivid imagery related to transformation and growth. The "starling flies into the rainbow" could be seen as a symbol of hope and possibility, while "autogynephilia" and "black witch moth" may represent reclaiming power over one's body and identity. The last verse "Save me from everything I ask for / Soil from the sod, Lamb of God, rest in peace" hints at the idea that the singer may be causing their own suffering through their desires and choices. However, in the end, they still long to be loved and understood, both by others and by themselves.
Line by Line Meaning
The lamb cries 'til ears ring
The lamb's cry is so sorrowful that it echoes through the listener's ears.
I cannot love from my prison of shame
Due to feelings of shame or guilt, the singer is unable to express love.
In Cimmerian Shade
The events described are taking place in a dark and oppressive atmosphere.
I'll keep her safe from the well, tailor made
The artist will protect someone they care about from a dangerous situation that seems to have been designed for them.
I just want you to love me
The artist desires to be loved by someone else.
I just wanted to know myself
The singer has a desire to understand and fully know their own identity.
Fix it all, Jonathan Demme
The singer addresses Jonathan Demme, likely as a metaphor for fixing the problems in their own life.
Beauty resides where your spirit dwells
True beauty is found within one's spirit or inner self.
My starling flies into the rainbow
A bird flies into a beautiful natural phenomenon, symbolizing a moment of wonder and awe.
Lost in the mist, chrysalis, kill your idols
The artist feels lost, like a butterfly in a cocoon or a foggy haze, and encourages a breaking free of societal norms and ideals.
Safe in my autogynephilia
The singer feels safe within their own fetish or sexual desire for themselves as the opposite gender.
One black witch moth, now she's lost in the meadow
A moth, traditionally a symbol of change, transformation, and a connection to nature, is lost and possibly in danger in the expansive meadow.
Save me from everything I ask for
The singer recognizes that what they desire may not actually be good for them, and asks for protection from themselves.
Soil from the sod, Lamb of God, rest in peace
The singer references religious symbolism and the cycle of life and death, possibly mourning the loss of someone or something.
I'm still just running from the answer
Despite seeking self-understanding and growth, the singer is still avoiding facing the difficult truths about themselves.
Safe in the cell, kiss and tell, my Clarise
The artist feels safe and protected by a secret or possibly a person named Clarise.
I just want you to know me
The artist desires to be truly known and understood by someone else.
I just wanted to love myself
The singer has a desire for self-love and acceptance.
I just want you to love me
The singer desires to be loved by someone else.
I just wanted to love myself, I
The artist has a strong desire for self-love and acceptance.
I just want you to love me
The artist desires to be loved by someone else.
I just wanted to love myself, I
The artist has a strong desire for self-love and acceptance.
I just want you to love me
The singer desires to be loved by someone else.
Lyrics © BMG Rights Management, SC PUBLISHING DBA SECRETLY CANADIAN PUB.
Written by: Angelo De Augustine, Sufjan Stevens
Lyrics Licensed & Provided by LyricFind
@unclejohnthezef
Sufjan and Angelo use the term “Autogynephilia” in this new song. This term is an outdated, denounced, fringe word, a pseudo-scientific label, a hateful word to the community it purports to describe. Some listeners believe the singers use it intentionally as an era-specific disproven belief, in order to generate discussion and a more nuanced understanding of the character Buffalo Bill from the 1991 movie "The Silence of the Lambs": the assertion is that the singers use it knowingly, ironically, intellectually.
“Cimmerian Shade” is the next to last song on the album, presented, I believe, as the album’s defining single. The title seems to come from the definition “Cimmerian: Very dark or gloomy”, or “of a mythical people described by Homer as inhabiting a land of perpetual darkness”. So Cimmerian Shade is like saying “really dark blackness.” This probably refers to the darkness the killer keeps in his underground lair (in the well, in the basement, with the night-vision goggles, etc).
In his excellent review, Mark Redfern writes: “Cimmerian Shade” is sung from the perspective of Silence of the Lambs’ serial killer Buffalo Bill (aka Jame Gumb, as played by Ted Levine). De Augustine had this to say about the song in a press release: “Many authors have emotional attachments to the characters they create. But in this instance, I was interested in how a character felt about being created. In my imagination I was giving consciousness to someone else’s creation. The song is essentially a dialogue between creation and creator that seeks to find understanding to some of the same questions that we ask ourselves about existence, free will, fate, purpose, guidance and if anyone or anything out there is listening or cares.”
The entire song, in fact, is made up of low level word play based on the film: the lamb cries; my prison of shame; I’ll keep her safe in the well, tailor made; my Starling; Chrysalis; black witch moth, etc. Except for one shocking word we never expect to hear come out of Sufjan's mouth: Autogynephilia.
In her excellent article, “The Ongoing Damages of The Silence of the Lambs’s Buffalo Bill 30 Years On”, Stephanie Markwell writes “This idea of the autogynephilic trans woman was popularised by The Silence of the Lambs – Bill’s mission to “become” a woman is entirely informed by his sexual perversions, as mentioned earlier. Much of the disgust levelled at Bill throughout the film is informed by this, with Lecter’s accusation of Bill and other gender non-conforming (GNC) people being ‘… savage and terrifying’ being at least partially influenced by a disdain for Bill’s autogynephilia.” (2.)
This is perhaps best illustrated in one of the most famous scenes in the movie: Jame Gumb dances seductively for a video camera (to the song "Goodbye Horses"), while putting on makeup and a wig and lipstick, hiding their genitalia and asking the camera "Would you ** me? I'd ** me hard..." all the while becoming aroused, playing with their nipples, etc.
Julia Serano in her scholarly denunciations of autogynephilia(3.) writes: “It is generally accepted within psychology and among trans health providers that transgender people who transition do so because they have a gender identity that is incongruent with their birth-assigned sex, and distinct from their sexual orientation. In contradiction to this standard model, the theory of autogynephilia posits that transgender women’s female gender identities and transitions are merely a by-product of their sexual orientations. While subsequent research has yielded numerous lines of evidence that, taken together, disprove the theory, autogynephilia is still often touted by anti-transgender groups, including trans-exclusionary feminists.” (4.) and “Autogynephilia is a paraphilic model that states that all male-to-female (MtF) transsexuals who are not exclusively attracted toward men are instead sexually oriented toward the thought or image of themselves as a woman. The assertion that transsexual women are sexually motivated in their transitions challenges the standard model of transsexualism—that is, that transsexuals have a gender identity that is distinct from their sexual orientation and incongruent with their physical sex.” (5.)
I still think it’s a great album: just now every time I see a horror movie, I have to wonder what Sufjan would sing about it (eg. I just watched Malignant, and I’m already hearing the pretty melodies “in my head…”, pardon the pun...)
@liloeuf
Why are you using julia serano as evidence that agp isn't real?
"Most of my fantasies began with my abduction: I’d turn to putty in the hands of some
twisted man who would turn me into a woman as part of his evil plan. It’s
called forced feminization, and it’s not really about sex. It is about turning the
humiliation you feel into pleasure, transforming the loss of male privilege into
the best fuck ever.
While I never really believed the cliché about women being good for only
one thing, I found that that sentiment kept creeping into my fantasies. In my late
teens, I would imagine myself being sold into sex slavery and having strange
men take advantage of me."
-Julia Serano
hmmmm
@unclejohnthezef
One would hope that Stevens and DeAugustine use the term autogynephilia ironically in an attempt to be intellectual or artistic provocateurs, but that’s not good enough. If just judging from the small number of people who have listened to the song on YouTube and responded to it in the Comments is any indication, it has already hurt people. From the comments:
“dudes why the heck are you singing about autogynephilia, get that word out of your mouths. making a song based on an infamously transmisogynistic film, this is painful to hear.”
“These people have no business singing about or even uttering the word “autogynephilia”.”
“Any mention of that pseudoscience is offensive and gross.”
“i think it was still a really poor and uneducated choice on both of their parts, but i don't think there's any kind of ulterior motive behind using the word.”
“Bonehead choice for sure.”
“Can anything about Buffalo Bill ever be well intentioned? It’s literally all the worst transmisogynist tropes rolled up into one character. I don’t think anything good faith can be made from that source material. Mentioning autognyephilia was just adding insult to injury.”
“id just like to know cause that word (and the movie too) have such a bad history”
“but the use of "autogynophilia" muddies all of that”
“you're absolutely right about that cursed word though they need to take responsibility for that”
So what does Jonathan Demme have to do with all this?
Demme became a great Hollywood Director, who had always tried to be aligned with marginalised people, like the gay community. When the film came out, in 1991, Demme was crushed to find himself denounced as having made a homophobic film (while today, it is discussed for it’s transphobic depiction). As GLAAD said to the press about Jame Gumb back in 1991, ““He has a poodle named Precious, he sews, he wears a nipple ring, he has an affected feminine voice, and he cross-dresses. He completely promotes homophobia.” Demme’s response to his film being labeled as homophobic was to next direct Philadelphia, about a gay lawyer dying of AIDS and fighting for his rights. Philadelphia was also roundly criticized, but Demme’s response was very inspiring:
“I expected it—actually hoped for it,” Demme said in 1994. “It’s the job of militants to demand more of anything. If these people were satisfied, change would be hard to get through. Every one of them is right. There could have been more of this, or more of that, but now, maybe another film will take it further.” As the years went on, he also seemed to understand why activists were so incensed by Lambs. “Jame Gumb isn’t gay. And this is my directorial failing in making The Silence of the Lambs—that I didn’t find ways to emphasize the fact that Gumb wasn’t gay,” he said in 2014. “Juan Botas, who was one of the inspirations for Philadelphia, said, ‘You can’t imagine what it’s like to be a 12-year-old gay kid, and you go to the movies all the time and whenever you see a gay character, they’re either a ridiculous comic-relief caricature, or a demented killer. It’s very hard growing up gay and being exposed to all these stereotypes.’ That registered with me in a big way.” He acknowledged, fondly, “It’s now become a part of the dialogue on stereotypical portrayals of gays in movies.” (6.)
In an interview with GQ (7.) Stevens explains that he met Jonathan Demme when the director brought his family to see Stevens’ show. Stevens is a big fan of Demme’s work. DeAugustine goes farther (too far, I’m sure) in adding “That song began when I woke up one morning and started to write on the ukulele. I’d been imagining this situation where the character [Buffalo Bill] could have a conversation with the director. What would be said between the two of them? Would the conversation be one-sided because they’re both living in separate planes of existence? Or could that barrier be broken and an understanding be achieved? I think [The Silence of the Lambs] is about wanting to be loved for who you are. We seek guidance all the time for what purpose our lives hold, and that movie can be helpful for understanding some of those things.”
Again, I’m no Psychiatrist, but the serial killer in SOTL is definitely NOT motivated by seeking to be loved for who he is; he is motivated by the desire to torture, terrorize, maim and kill his victims; he desires their fear and to watch them die, then to cut them up and use their skin for a “woman suit”: not to “gain understanding”. It’s just possible Angelo and Sufjan have overthought this song a little bit. Their story/lyrics don’t hold up at all: Jame Gumb does not know Agent Starling and never calls her “My Clarice”: that’s a different serial killer in the movie. Jame Gumb did not “just want you to love me”: he never even knew her. There is an exhaustive article about Buffalo Bill’s origins and narrative at HannibalWiki. (8.)
But it is very interesting to have a fictional character wish they could have self-determination: Sesame Street used to have a simple line drawing character crying, and the character sobs “but I don’t want to be sad”… but they were drawn sad, and they are sad about being forced to be sad by nature; by their creator.
Cimmerian Shade would not engender all this discussion about Buffalo Bill, about SOTL, about Jonathan Demme, or about many important trans issues including the hateful and hurtful term “Autogynephilia”, if they left that word out of the song. My greatest wish, and the only thing I think that can address the harm using this word has caused, is to come out HARD against it: to make a strong, unambiguous statement right away, on the order of “We strongly denounce the concept of “Autogynephilia”, and any lingering credence anyone gives to this archaic and hurtful term. We use it here only to denounce the use of it by … and to hopefully make it even more unacceptable and rejected.” Sure, stir the pot, rile up all the greater non-trans public to raise awareness of these issues. But trans people are already hurt by this. Picture a listener (cis, trans, transitioning) hearing their hero Sufjan using the term in this song: “well, it must be acceptable or possibly even OK to believe in autogynephilia.” and from then on they keep their ears open for theories about trans people, believing this is a viable discussion point. don’t play coy about it: that’s a JK Rowling maneuver. None of this “We won’t ever discuss our lyrics’ meanings, that’s for our listeners to interpret for themselves… artistic privilege etc” Blabla bla... They should just come right out and say “We completely condemn autogynephilia theory, we just used it in our discussion because it was part of a film from 30 years ago.”
I wrote to Sufjan, and Asthmatic Kitty asking for clarification. (yeah, like they ever read a letter from me, let alone respond to me…) “Suf and Ange, I don’t know what’s “right” or “wrong”: I just know using this term is hurtful to a lot of people and many of your fans are confused and hurt: that’s a good time to say something, don’t you think?”
1. https://www.undertheradarmag.com/news/sufjan_stevens_and_angelo_de_augustine_share_cimmerian_shade_and_you_give_d
2.
https://scratchthatmagazine.com/issue-four-written-template-3/
3.
http://www.juliaserano.com/TSetiology.html
4.
http://www.juliaserano.com/av/Serano-AutogynephiliaEmbodiment.pdf
5.
https://www.juliaserano.com/av/Serano-CaseAgainstAutogynephilia.pdf
6.
.https://slate.com/human-interest/2017/04/director-jonathan-demme-faced-down-silence-of-the-lambs-gay-backlash.html
7.
https://www.gq.com/story/sufjan-stevens-angelo-de-augustine-interview
https://asthmatickitty.com/merch/a-beginners-mind/
8.
https://hannibal.fandom.com/wiki/Jame_Gumb
https://www.pastemagazine.com/music/sufjan-stevens-angelo-de-augustine/a-beginners-mind-album-review/
https://lwlies.com/interviews/sufjan-stevens-angelo-de-augustine-a-beginners-mind/
https://pubmed.ncbi.nlm.nih.gov/22005209/
https://www.huffpost.com/entry/why-jonathan-demme-applauded-the-lgbt-criticism-of-silence-of-the-lambs_n_5b4f6330e4b01e373aabe61b
https://www.wordnik.com/words/Cimmerian
@hopelessent.1700
This feels like a return to the more quiet and calming feel of Seven Swans I’ve wanted but with a twist as it also sounds like DiAngelo’s last collab with Sufjan, and a bit of Carrie and Lowell. I love it, love it with my whole heart. :)
@ryanfrancisco7533
Honestly, some of the music sounds like it takes inspiration from other albums like Illinois, Michigan, and carrie and lowell, maybe you can scratch some of those out but I've heard some sounds in the music that brings me to certain songs in those albums. I love everything Sufjan writes. You know he puts his soul on the page and that's what I admire the most. Him and Troye Sivan dominatey playlist because they are so soulful.
@hopelessent.1700
Ryan Francisco Sufjan’s albums at this point are set for each month throughout the year. Lot of classics in an abundant and varied discography.
@Gabunny
What did we do to deserve a Sufjan/DiAngelo song about Silence of the Lambs!
@ShroudedDay
Right?!? Amazeballs.
@saintherip8624
Hello, stranger. I hope you're doing okay.
@dantellywelyn
Yet another beautiful song by these exceptional artists. It shines. The world is now a little brighter ✨ 🙏🏼
@midnightnettle7510
All my pets died last week. A communicable disease (panleucoma) spread and I had to watch them fall sick one after the other. I thought we'd be happy forever. That week was just a nightmare straight out a horror movie. And now I am just... Empty. I'm trying to begin again but there are moments like seeing their plates or checking if anyone's around my feet while I'm walking when all progress disappears and all I'm left with is unthinkable sadness and anger.
Rest in Peace. Or get reincarnated as something beautiful. I love you more than you can know my darlings
@josephkingston5335
I can’t imagine how much you’re hurting right now. Hope you'll recover from this soon!
@midnightnettle7510
@@josephkingston5335 thank you so much 💕