debbie harry belting the word “latina” for some reason 🇵🇸
@stringtheory.bsky.social
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capybara enthusiast, they/them-about-town, january 6 survivor, and literal doctor. i hate music more than you like it
capybara enthusiast, they/them-about-town, january 6 survivor, and literal doctor. i hate music more than you like it
![a screenshot of the NYT app:
Military engineers raised a river’s water level for a Vance family boating trip.
[on the right is a photo of JD Vance lying]](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:yk242ldtutjb6anzy67zeilt/bafkreif7kyquyqqfy6mg63y5nzeknwjfv4v7la3hocjudpasylmtnhyx5u)
![[Chapter] 5: Lead's Racial Matters
Here I pluck an object from the lowest end of the animacy hierarchy: lead metal, a chemical element, an exemplar of inanimate matter. In the two previous chapters, I detailed how animality is coarticulated with humanity in ways that are soundly implicated in regimes of race, nation, and gender, disrupting clear divisions and categories that have profound implications ramifying from the linguistic to the bio-political. In this final part, I bring animacy theory to bear on metals; first by looking at recent racialized discourses around lead, and in the next chapter by focusing on mercury toxicity to discuss the vulnerability of human subjects in the face of ostensibly inanimate particles.
These particles are critically mobile and their status as toxins derives from their potential threat to valued human integrities. They further threaten to overrun what an animacy hierarchy would wish to lock in place.
Toys off Track
This chapter considers the case of "lead panic" in the United States in 2007 regarding potentially toxic toys associated with Chinese manu-facture. I label this recent lead case a "panic" to suggest a disproportionate relationship between its purportedly unique threat to children's health and the relative paucity of evidence at its onset that the contaminated toys themselves had already caused severe health consequences' I measure this panic against other domestic public health](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:yk242ldtutjb6anzy67zeilt/bafkreidxx7il2f36corx64dmv2vpjrtky3rbm4f7j4ewnkromgxgf2xfti)
![^ History
See also: List of compositions by Erik Satie § Piano music
The work's unusual title comes from the French form of gymnopaedia, the ancient Greek word for an annual festival where young men danced either naked or, perhaps figuratively, simply unarmed. The source of the title has been a subject of debate. Satie and his friend Alexis Roland-Manuel maintained that he adopted it after having read Gustave Flaubert's novel Salammbô, while others see a poem by J. P.
Contamine de Latour as the source of Satie's inspiration [1][2] since the first Gymnopédie was published in the magazine La Musique des familles in the summer of 1888 together with an excerpt of Latour's poem Les Antiques, where the term appears. [1][3]](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:yk242ldtutjb6anzy67zeilt/bafkreibypapico5yvhxjjtdftftpzl5sgs64vt47ssbsc74ot75wxsbkrm)
![justgirlymemes edit that reads “Toss your hair in a bun, drink some coffee, [say “im going to fucking kill myself] and handle it.”](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:yk242ldtutjb6anzy67zeilt/bafkreichybghncz4dwph2xmcrqd3a7v7crsvg6stfismzt6x6c7qdztj64)
