I am not defending the insulting Gold article, but this speciousness is equally delusional.

It matters whether Gold used to be fat. If she didn’t, she’s really just a horrible person. If she did, she makes me sad, and is also a pretty horrible person. A lot of formerly fat or temporarily not-fat people hate on fat individuals with an extra intense fervor because they need to justify all the suffering they’ve gone through to force their bodies into a shape it doesn’t want to be.

I don’t give a fuck what shape my body wants to be. I’ll make it the shape I want it to be. And I didn’t suffer even a little bit to do it — I ate higher-quality food that made me feel fuller, and I enjoy working out a great deal.

And “temporarily non-fat?” No, I will never be fat again. Lost weight a decade ago and didn’t put any of it back on. In fact, due to working out, I am currently not able to eat enough consistently to gain any more muscle — the main reason I haven’t set any new personal lifting records recently. Weighed myself and I am down to 159 pounds, when I was attempting to get to 170 pounds. Dammit. (But the difference between me and the FA people is that I will work to correct this and will hit my goal.)

I agree that the Gold article is pretty bad. But the strange denial of reality in the Fat Acceptance community is arguably just as bad, and is as Gold points out harmful to many, many people.

The amount of lies people tell themselves to allow them to believe they have no control over their body or their life at all is really shocking when you think about it. Sure, it isn’t easy, but if you don’t exert some control, no one else will. Carpe tibi!

The Day the Music Burned. It was the biggest disaster in the history of the music business — and almost nobody knew. This is the story of the 2008 Universal fire.

Keeping all of our culture locked up in vaults for stupid and anti-human copyright reasons leads to disasters like this.

The archive in Building 6197 was UMG’s main West Coast storehouse of masters, the original recordings from which all subsequent copies are derived. A master is a one-of-a-kind artifact, the irreplaceable primary source of a piece of recorded music. According to UMG documents, the vault held analog tape masters dating back as far as the late 1940s, as well as digital masters of more recent vintage. It held multitrack recordings, the raw recorded materials — each part still isolated, the drums and keyboards and strings on separate but adjacent areas of tape — from which mixed or “flat” analog masters are usually assembled. And it held session masters, recordings that were never commercially released.

A whole era of history, just gone because of corporate greed. This is why I am largely against copyright and why this era will have very little left to remember it by. Over time, with no backup and no accounting for it, disasters and mistakes will inevitably and incrementally destroy our collective cultural history.