TAG YOUR PORN MAN
(via hyenaspotz)Source: justataste.com
#the greatest #i’ve got red in my ledger. i’d like to wipe it clean. #she manipulates people’s gendered expectations of her to extract information #she conducts interrogations by letting people think they’ve bested her #by letting men think they’ve bested her #because she’s small and fragile and female and she is emotional and easy to snap in half #and then she tears them apart #and it’s the greatest thing and you’re the greatest thing and i love you #get your own movie
My favorite part is how Phil’s not even slightly concerned. Not even a tiny bit tense. He’s just bopping there, waiting until she’s done. The sound of breaking bones is Natasha’s hold music.
The sound of breaking bones is Natasha’s hold music.
(via thebobbycrogan)Source: taylor-swift
A Gay Zulu Wedding and the Danger of a Single LGBT African Story
Male and Married: The Gay Zulu Wedding and the Danger of a Single LGBT African Story
In case you missed it, a few weeks ago, two gay black South African men tied the knot at their 200-guest traditional wedding in KwaDukuza, the first of its kind in the old Zulu capital.
Love birds Tshepo Modisane and Thoba Sithole, both proudly Zulu and Tswana, have made their union a part of South Africa’s history by deciding to go public with their gay African traditional wedding ceremony, with a few twists:
In place of the customary lobolo (bride price or dowry), via which the husband customarily offer’s the wife’s family money and/or gifts, they’ve decided to opt for gender parity and, instead, offer gifts to each of their families in thanks for raising them. They also plan to use the hyphenated version of both their last names, Sithole-Modisane, and are planning to start a family soon using a surrogate (though this report says they’ll be adopting.)
In the video report (below), the couple shares, “It’s against this idea that being gay is unAfrican… Being gay is as African as being black. We are a part of our culture. Thoba is Zulu and I’m Tswana. We’re rooted in our culture and very excited about it.”
On paper, South Africa boasts the friendliest constitution, which protects its lesbian, gay, bisexual, transgender, and intersex (LGBTI) citizens from discrimination based on race, gender and sexual orientation. Yet, the country’s struggle to shift cultural attitudes towards acceptance for this marginalized group of people, especially in rural areas and townships, remains.
According to this Human Rights Watch report, “Black lesbians and transgender men in South African townships and rural areas face an overwhelming climate of discrimination and violence despite protections promised them in the country’s constitution.” It’s no wonder, then, that the mere optics of the “first gay traditional African wedding,” warrant its celebration as a historical milestone for gay Africans everywhere.
Denis Nzioka, founder and editor of Identity Kenya, a news organization covering sexual and gender minorities in Kenya, remarked in an interview, “The gay Zulu wedding was epic, if not pioneering. Having seen the video and photos and customs I was amazed at how the two mixed their love and celebrated it in an ‘African’ way.” And in response to what’s become a slogan amongst anti-gay African leaders, “Homophobia is unAfrican,” Nzioka insists that “the fact that two African men can fall in love and wed, despite a homophobic society that frowns on same-sex relationships counters what many Africans [have been] saying’.”
The video of the wedding can be viewed here. http://www.youtube.com/watch?v=1ZLB9Y7lPw8
(via black-culture)Source: m4m-ethnic-culture
It’s about fucking mutants stop trying to making this meaningful.
Media—comics, film, literature, video games—exist for us to find our own meaning and value in it. Especially mutants, which are a super powerful and accessible metaphor for nearly anyone who has ever felt maligned for reasons beyond their control. Shut up.
I’m sorry who are you?
I’m the person who found this scene meaningful, made this gifset and now has to see annoying reblog comments like yours pop up on my dashboard.
Are you fucking kidding me. The X-men comics were literally a metaphor for racism and xenophobia. This is meaningful because it is meant to be meaningful.
Fucking start shit with me if you got a problem with Nightcrawler or Storm.
this is why I love the x-men
This was my first favorite superhero series, and for a good fucking reason. Don’t shit on someone else’s warm moment just because you’ve had the privilege not to ever feel hated and excluded for reasons beyond your control. The X-men made a little trans boy in growing up in the south very happy.Source: harlequinnade
Contemporary Art Week!
Series: Self-Evident Truths
These paintings represent a modern study in dichotomy and perception from a historical context using portraiture as the interpretive engine.
I often use the image of the black woman in unaccustomed/atypical context; derived to create a visual tension between historical fact, misinformation and myth. The viewer is lured into the possible narrative of the depicted figure by her beauty, strength and grace; however immediately enters an intellectual menagerie where they are confounded by the disconnected visual clues. Is she slave or slaveholder? Is she captive or free, is she servant or served? Is she factual or fictional in a historical context? All of these questions and more provide basis for the individual viewers journey of allegorical interpretation.
The images are imbued with cultural and ethnic symbolism that provides insight into the historical context of the painting. Yet, the icons, combined with my personal visual vocabulary, may remain unseen or misread by the “unknowing” eye; the eye that never learned the historic bases for all the possibilities in the lives of these women. In a society that often make instant cultural judgements based on visual cues that are often stereotypical, but not always, I feel offering ethnic imagery that defies common visual library of the modern citizen may challenge each individuals biases and foregone conclusions of their own notions of what race represents in history and therefore in humanity.
The images beg the question: Is “Truth” self-evident? Who’s “Truth”? How does knowledge, experience and perception of one’s “self” determine what is evident? If the view of oneself is skewed is it possible to see another clearly?
1. If something would be boring and/or undramatic for a male character, it would probably be boring and/or undramatic for a female character. If you’re writing a female character (particularly in a major role), I’d recommend thinking about whether you’d want to read about a male character in that situation or with that trait. If not, then you’re probably boring your readers.
2. The character is useless. Have you made a main character more or less helpless for most of the story? Does she watch as the story happens around her? Does she get repeatedly saved by other characters when the going gets rough? Please think back to #1. You’d probably be bored reading about a more or less helpless guy, right? Your readers will be just as bored by a helpless female.
3. The character’s only defining trait is being hyper-smart or (more rarely) a total ditz. That’s fine for one character among several, but if she’s your only significant female character, it’ll raise questions about your ability to handle female characters at a more relatable level of intelligence. If you’re having trouble with more relatable female characters, I’d recommend checking out some Meg Cabot books, Mean Girls and/or Pride and Prejudice.
3.1. The character is totally pure. A character that always does the right thing and has no motivations besides being friendly/agreeable/nice is probably pretty boring. 100% pure characters strain the suspension of disbelief, are less relatable and usually less dramatic. For whatever reason, these types of boring characters are almost always women.
4. Your readers will probably be able to tell if you have not read many female main characters written by female authors. If you don’t have the firsthand experience of actually being a female, being well-read is probably the closest you’ll get to seeing the subtle distinctions between most women and most men in terms of perspective, dialogue and actions. Conversely, when I’m reading manuscripts, the easiest way for me to pick out male characters written by female authors is when 1) the character is hyper-introspective and collected (even in a crisis) and the author doesn’t realize that’s unusual, and/or 2) a male character notices far too many irrelevant details, such as eye color and hair color, and the author inadvertently makes it sound like the character’s ogling someone or writing a fashion review.
5. The character is a love interest that doesn’t have a role outside of romance. She’ll probably be a more interesting love interest if she has something else going on. For example, Lois Lane is (occasionally) a competent reporter whose investigations sometimes tie into Superman’s work. Pepper Potts figured out who kidnapped Tony Stark by breaking into Stane’s office. Ramona Flowers from Scott Pilgrim had a penchant for awesomeness and a mallet. Also, she was a ninja courier for Amazon.
5.1. The character is defined by her physical attractiveness and/or sex appeal. If you consider physical attractiveness one of the three most interesting things about a major character, I would recommend rethinking the character’s development because most likely the character is a love interest that is interesting only to the author. (Think back to #1–you wouldn’t want to read about a guy whose main trait was his handsomeness, would you?) Also, please bear in mind that most of the professionals evaluating your submission will probably be ladies, so you won’t even have the titillation angle working in your favor.
6. The character has no substantial goals besides going along with other characters and/or getting in bed with somebody. If you’re going to bother writing in a character, I’d recommend giving him/her some sort of independent effect on the plot. If not, why bother having the character? Fortunately, you don’t need to give a character much space to give her/him a role to play. For example, Neville Longbottom had around a page of dialogue (~350 words) in the first Harry Potter book and he still managed to raise the stakes for the protagonists by growing a spine at absolutely the worst moment. (Dumbledore’s recognition of his badassery was probably the highlight of the first book for me).
7. The character is mute. In general, I think the mindset behind this decision is “I’m having a lot of trouble writing dialogue for females, so I’ll just make her mute.” In this case, muting a major female character will only draw attention to how bad you think your female dialogue is. I’d strongly recommend practicing your female dialogue instead–the practice will help, and at least you’ll get out of instant-rejection territory.
(via obscureliteraryreference)Source: superheronation.com
It’s not the ones who oppose my fight against injustice that concern me. My concern lies with the ones who have remained indifferent.
Every time you choose to remain silent and do nothing when you see injustice happening, you are making a decision, whether conscious or not, to side with the oppressor.
Let’s choose to be on the RIGHT side of justice!
(via black-culture)Source: soulrevision