So I saw a post on how American Apparel markets unisex clothing, but I couldn’t actually find a unisex section on their website. I did however notice this. The sweatshirts one is particularly illuminating.
Selling men’s clothes to men, and selling women’s bodies to… ?
Absolut Vodka release a limited edition label free bottle to celebrate diversity and challenge Lesbian, Gay, Bisexual, Transgender prejudice.
socially conscious vodka? SIGN. ME. THE FUCK. UP.
GUYS I TURN 21 THIS MONTH
I NEED THIS SHIT OKAY
It’s clearly time for me to go back to vodka.
Angelina Jolie undergoes a double mastectomy after finding out she has a high chance of developing breast cancer
With everyone still reeling from Angelina Jolie’s announcement of her double mastectomy, it’s worth pausing to give Angelina, the magnetic force of celebrity that has been firmly in the spotlight — whether it be because she wore a vial of Billy Bob Thornton’s blood or because she visited beleaguered flood victims in Pakistan — a round of applause.
Hollywood’s fetishization of just about every part of Jolie’s body has made her an object, but instead of remaining so, she’s channelled the world’s fascination with all things Angelina into a platform to speak directly to millions. A $5 million dollar Komen campaign wouldn’t have made women pay attention to their chances of genetically transmitted cancer and the benefits of preventative mastectomy the way Angelina’s announcement did.
that men believe they are entitled to “mourn” angelina jolie’s double mastectomy? how are we defined when we believe we own a woman - simply because she is a public figure - enough to discuss her fears, genetics, body, and decisions.
there’s more to this than “oh, brad’s gonna fuck the nanny.”
this is about men believing they own women and girls. it’s more than a mastectomy.
The troubling viral trend of the “hilarious” Black poor person
May 7, 2013
Charles Ramsey, the man who helped rescue three Cleveland women presumed dead after going missing a decade ago, has become an instant Internet meme. It’s hardly surprising—the interviews he gave yesterday provide plenty of fodder for a viral video, including memorable soundbites (“I was eatin’ my McDonald’s”) and lots of enthusiastic gestures. But as Miles Klee and Connor Simpson have noted, Ramsey’s heroism is quickly being overshadowed by the public’s desire to laugh at and autotune his story, and that’s a shame. Ramsey has become the latest in a fairly recent trend of “hilarious” black neighbors, unwitting Internet celebrities whose appeal seems rooted in a “colorful” style that is always immediately recognizable as poor or working-class.
Before Ramsey, there was Antoine Dodson, who saved his younger sister from an intruder, only to wind up famous for his flamboyant recounting of the story to a reporter. Since Dodson’s rise to fame, there have been others: Sweet Brown, a woman who barely escaped her apartment complex during a fire last year, and Michelle Clarke, who couldn’t fathom the hailstorm that rained down in her hometown of Houston, and in turn became “the next Sweet Brown.”
Granted, the buzzworthy tactic of reporters interviewing the most loquacious witnesses to a crime or other event is nothing new, and YouTube has countless examples of people of all ethnicities saying ridiculous things. One woman, for instance, saw fit to casually mention her breasts while discussing a local accident, while another man described a car crash with theatrical flair. Earlier this year, a “hatchet-wielding hitchhiker” named Kai matched Dodson’s fame with his astonishing account of rescuing a woman from a racist attacker. But none of those people have been subjected to quite the same level of derisive memeification as Brown, Clark, and now, perhaps, Ramsey—the inescapable echoes of “Hide yo’ kids, hide yo’ wife!” and “Kabooyaw,” the tens of millions of YouTube hits and cameos in other viral videos, even commercials.
It’s difficult to watch these videos and not sense that their popularity has something to do with a persistent, if unconscious, desire to see black people perform. Even before the genuinely heroic Ramsey came along, some viewers had expressed concern that the laughter directed at people like Sweet Brown plays into the most basic stereotyping of blacks as simple-minded ramblers living in the “ghetto,” socially out of step with the rest of educated America. Black or white, seeing Clark and Dodson merely as funny instances of random poor people talking nonsense is disrespectful at best. And shushing away the question of race seems like wishful thinking.
Ramsey is particularly striking in this regard, since, for a moment at least, he put the issue of race front and center himself. Describing the rescue of Amanda Berry and her fellow captives, he says, “I knew something was wrong when a little pretty white girl ran into a black man’s arms. Something is wrong here. Dead giveaway!”
The candid statement seems to catch the reporter off guard; he ends the interview shortly afterward. And it’s notable that among the many memorable things Ramsey said on camera, this one has gotten less meme-attention than most. Those who are simply having fun with the footage of Ramsey might pause for a second to actually listen to the man. He clearly knows a thing or two about the way racism prevents us from seeing each other as people.
Now that you know this is a thing, please stop sharing these memes. Poor Black people speaking candidly about various serious incidents isn’t a hilarious joke
This is my final art A2 piece, responding to the theme ‘Storyteller’.
I decided to tell my own story of self harm/food problems through visual means: a self portrait/collage in which I am trying to show that I have now recovered and moved on from what was a really horrible time in my life.
I think I took a risk by including torn-out diary pages from my second relapse in 2010, as a lot of people at school (and now the internet) will see this, and after all it is a very personal thing, when I wrote this I never intended it to be read by anyone other than myself. I decided to include the pages because it is my own way of coming to terms with the fact that this is how I once felt, despite being so far from those feelings now. I think it is better for me to face up to these pages, rather than pretending these feelings never existed. The diary in which they were stored was still sat in the box by my bed, and these words were lying stagnant in the air in my room, and I decided it was time to put them to use or at least get them out of my room as they are no longer relevant of helpful to me in any way. It was very satisfying, almost therapeutic, to tear them to pieces, I felt as though I was killing those thoughts so that they could never return. I stared at them in disbelief as I stuck them down - I can’t believe it was my hand that wrote these words, they seem alien to me now.
The collage coming from my mouth - the story - might not be as aesthetically pleasing or as nicely arranged as I had hoped it would be, but for the first time ever I realised I cared more about the message and meaning in my piece than how it was visually presented or how ‘pretty’ it looked. I hoped that it wouldn’t look too contrived, but I just wanted to portray self injury through small objects and items, where before long butterflies - hope, recovery, redemption, safety - start to emerge, and then take over. I wanted it to represent how I was once so caught up in self hatred and self denial that I thought I would never recover or never even want to recover, but then after much time I did see the light and everything started to fall into place, and I got my life back. Today as I assembled the piece, I realised the last time I had opened a box of razors had been in 2010, and the fact that I have come so far made me feel proud. I included such graphic items and horrible words because they are still a part of me and my story, but I have since risen above that and since realised that I am better than that.
I don’t know if anyone will have read this long description, but if you have done and you are also struggling with self-harm or an eating disorder or know someone who is, know that there is still hope yet. For years I was so low and so hopeless and remember thinking that I would never get better so I might as well take my own life. I am so glad I didn’t. I am admitting all this now because I have transformed and now see all the beauty in life and I am truly, truly happy. When I was 13 I didn’t see how I could ever not want to hurt myself, and at the age of 17 I know that recovery is possible, and recovery is beautiful. I don’t know exactly how to go about recovering, but I do know there is always the possibility of finding a way out. You just have to find it.
“Storyteller: Recovery” by Kate Powell
She was once the a beautiful virgin shadow maiden of Athean. After Poseidon rapes Medusa in Athena’s temple, Athena punishes Medusa….making her the embodiement of death and damning her to a life of solitude.
What does this say about society then, and now?
Well, the myth that tells Medusa’s metamorphosis into a monster as a punishment by Athena is the patriarchal Roman version. The ancient Greek myth, which has closer ties to its progenitor, the Egyptian tale of Wadjet, tells us that Athena gifted Medusa with ugliness and the power to turn men to stone as a way of protecting her from further violations of her person. Even so, her ugliness was emphasized in the Roman retelling as a way to further demonize and disenfranchise Medusa (i.e. she only lashed out on men because she was too ugly to be loved by them, her ugliness forced her into seclusion from men, ugly women are bad, etc. ((I am ironically using abbreviations for Latin words here yes)).). As the original myth tells it, she lived in solitude because she did not wish to be around men after what Poseidon had done. And Athena gave her the power to never be at the mercy of a male again. So originally, Athena was pissed at Poseidon, not Medusa. And then, of course, the Romans took it one step further and had Perseus behead her (yay the vindictive old hag is dead) and give it to Athena for her shield.
But yeah, renderings of Medusa’s head appeared in the doorways of many women’s shelters in ancient Greece because she was a symbol of female empowerment, not a monster feared by men and women alike.
This brings me to my awkward segue into a cool essay on the subject: The Laugh of the Medusa by Helene Cixous actually touches on the system of misogynistic fear behind the Romanized version, but most importantly why women need to write their stories because this is the shit that happens when dudebros get ahold of them. It’s also an awesome overture to queer theories of writing. If you can read French, I highly suggest getting your hands on the essay as it was originally written, because Cixous’ voice is just incredibly inspiring when you read it as she intended it to be read. Also, the essay itself is worthy of criticism as it is not as intersectional as it absolutely needs to be. I feel I should add that before someone thinks I advocate the problematic things she says.
But now that I’ve totally digressed from my original point: It’s important that we’re always mindful to question the credibility of those telling us not only history, but also legend.
(I became absolutely exhausted halfway through this so forgive me if the connection I’m making between the original post and this essay is more arbitrary than I think it is at the moment)
Who are Amanda Berry, Gina DeJesus, and Michelle Knight, the three West Cleveland-area women who disappeared as teenagers a decade ago and finally escaped yesterday (along with a 6-year-old believed to be Berry’s daughter) from the clutches of the former school bus driver who was allegedly keeping them captive? Here’s a rundown on the very strong survivors.