Just a moment, lovely

albabutter:

"One of the most interesting things about Elizabeth Turner was her Kiss of Death. Throughout the trilogy, all of the men she locked lips with has died - including Sao Feng in At World’s End, and (if you want to be petty about it) her father, Weatherby Swann. Usually they would die moments after kissing her for the first time. This excludes Will Turner who has kissed her several times before and beat the odds every time. However, even he succumbed to her kiss and died as well minutes after the two were hastily married by Barbossa.

This is most likely a just coincidence and not something that was intentional, but years later it’s still fun to point out to friends and watch a dawn of realization hit their face when they realize that Pirate Queen Elizabeth may have also been the Grim Reaper.”

Pirate King* Elizabeth


 

"If women are allegedly passive and fragile, then why are Black women treated as “mules” and assigned heavy cleaning chores? If good mothers are supposed to stay at home with their children, then why are U.S Black women on public assistance forced to find jobs and leave their children in day care? If women’s highest calling is to become mothers, then why are Black teen mothers pressured to use Norplant and Depo Provera? In the absence of a viable Black feminism that investigates how intersecting oppressions of race, gender, and class foster these contradictions, the angle of vision created by being deemed devalued workers and failed mothers could easily be turned inward, leading to internalized oppression. But the legacy of struggle among U.S Black women suggests that a collectively shared Black women’s oppositional knowledge has long existed. This collective wisdom in turn has spurred U.S Black women to generate a more specialized knowledge, namely, Black feminist thought as critical social theory."

In Black Feminist Thought: Knowledge, Consciousness and the Politics of Empowerment, published in 1990, Black feminist Patricia Hill Collins extends and updates the social contradictions raised by Sojourner Truth, while crediting collective struggles waged historically with establishing a “collective wisdom” among Black women: (x)

"I think the reason why twentysomethings are so fixated on age is because we feel a pressure to be a certain way at 23, at 25, at 29. There are all of these invisible deadlines with our careers and with love and drinking and drugs. I can’t do coke at 25. I need to be in a LTR at 27. I can’t vomit from drinking at 26. I just can’t! We feel so much guilt for essentially acting our age and making mistakes. We’re obsessed with this idea of being domesticated and having our shit together. It’s kind of sad actually because I don’t think we ever fully get a chance to enjoy our youth. We’re so concerned about doing things “the right way” that we lose any sense of pleasure in doing things the wrong way. Youth may be truly wasted on the young."

period-tips:

slytherinsnow:

pishtacos:

crucia-airlines:

i got bored so I made a powerpoint presentation about menstrual cups brands for awareness and knowledge reasons

all pictures are off the internet so not everything is properly credited, but just know that I didn’t make those pictures.

i hope this is useful for someone

Big mistake on the Mooncup slide.
The Mooncup was originally British. The Keeper company copyrighted the name in the US before the british company could - aka a huge dick move. The US mooncup is identical to the keeper cup but in silicone instead of rubber, while the UK mooncup is different. I think it goes without saying that you should NOT support Keeper/US Mooncup, they’re douches.

O_o i’ve never seen menstrual cups….. like….it’s obvious it’s used like a tampon but….stilll how do they work and is there any other things you use for periods? why don’t i know these things?

It’s completely normal not to! Most tend to focus on pads or tampons because that’s what most parents use and what we’re taught in schools. So alternatives haven’t really come in yet.
Basically menstrual cups sit below the cervix and collect the blood in them, then you remove it and dispose of the blood then rinse and re-insert. If inserted correctly they shouldn’t leak, due to a vacuum being formed.

There’s a bit more info on them and other products here: http://period-tips.tumblr.com/post/82237207384/sanitary-products-master-post

And a bit about insertions/removal here: http://holdstillslick.tumblr.com/post/79568094738/menstrual-cup-tips

A bit about the cups (Juju brand) here: http://www.juju.com.au/pages/FAQs.html

And finally a little video and blog: http://dirtydiaperlaundry.com/menstrual-cups-what-every-woman-should-know/

WHITE RAPPER FAQ Part 2

aamerrahman:

image

This is a follow up to this post here: http://aamerrahman.tumblr.com/post/53978736048/white-rapper-faq

1. ARE YOU SAYING WHITE PEOPLE CAN’T LISTEN TO RAP?

Stop projecting your anxieties onto me.  You’re white.  You can do pretty much whatever you want. It’s a sweet deal.

2.  IF SOMEONE LOVES A CULTURE LIKE HIP-HOP, AREN’T THEY ALLOWED TO BE PART OF IT? BLACKFACE WAS ABOUT MOCKERY.  WHITE RAPPERS LOVE HIP-HOP, THAT’S WHY THEY MAKE RAP MUSIC.

Blackface wasn’t just about mockery.  It was an industry, a structured form of entertainment that allowed white people to benefit from their projections of black culture.  A key element was the ability to define blackness to a white audience and profit from this performance.  This whole issue is as much about the economic dimensions of white rap and its relationship to an audience as it is about the basic intentions behind it.

A white rapper like Iggy Azalea acts out signifiers which the white majority associates with black culture - hyper sexuality, senseless materialism, an obsession with drugs, money and alcohol – as well as adopting clothing, speech and music – as a costume that they can put on and discard at will.  It’s a cheap circus act.

3. WHY ARE YOU BLAMING THESE WHITE ARTISTS FOR BEHAVIOUR THAT IS REGULARLY CELEBRATED BY BLACK ARTISTS?

Supply only exists to meet demand.  In fact, the hyper-sexual,  materialist and misogynist trends we see in mainstream rap are a manifestation of the desires and imagination of a majority white consumer base.  In other words, these are the images of blackness white people want to see being reproduced for their entertainment and consumption.

This white fanbase has demanded increasingly fetishised images of black and brown people for almost 3 decades now - I mean seriously, I recently heard two white radio hosts (a man and a woman) discussing how much they wanted to touch Nicki Minaj’s ass to see whether it was real or not.  Like some kind of modern day Hottentot Venus.  (http://en.wikipedia.org/wiki/Venus_hottentot).

But while they are fundamental part of the shaping of commercial rap and its problematic imagery, white people take none of the blame.  The economic structure of the music industry dictates that black people do not control the production of rap music, but must simultaneously be held accountable for its problems and answer for all of its shortcomings.

3. WHY IS IT OK FOR AN ARTIST LIKE SCRIBE (FROM NEW ZEALAND) TO RHYME IN AN AMERICAN ACCENT BUT NOT SOMEONE LIKE IGGY AZALEA? THE ONLY DIFFERENCE IS THAT IGGY IS WHITE AND SCRIBE IS NOT.

Scribe and Iggy Azalea are not simply ‘different’ because of the colour of their skin.  Race is not just some cosmetic difference between people.   In this case it is the door to a discussion about class, history and culture.

Hip-hop was created and pioneered by people who had directly suffered colonisation, slavery, intergenerational poverty, criminalisation, drug epidemics, racial profiling, demonisation by media, over-policing and mass imprisonment.  Hip-hop has always naturally resonated with people around the world who have experienced similar things – just look at the rise of Arab/ Muslim Hip-Hop in the last decade (and across the 3rd World in general).

Scribe has actually grown up in a community directly affected by racism and poverty.  His American accent is in no way the type of appropriation being exercised by someone like Iggy Azalea, who basically impersonates her idea of a black woman for fun.

5. SO…

So if you participate in a culture built heavily on people’s experiences of racism but you have never experienced racism yourself, tread lightly.  Basically, everyone take a page out of Brother Ali’s book.  Last time I saw him live, he took a whole chunk out of his show to genuinely talk to the mostly white crowd about privilege, racism, colonialism and their part in it.  If you simply take from a culture without giving back to its legacy, or at least consistently acknowledging the people who pioneered it, you are a thief.

This ‘post-racial’ and ‘colour-blind’ idea that Hip-Hop ‘belongs to nobody,’ that ‘anyone can rap’ with no strings attached is basically to deny and delete the history of a culture.   Only an incredible sense of arrogance and white entitlement could lead someone to the conclusion that Hip-Hop’s roots as a rejection of violent oppression and racism are suddenly irrelevant, especially when those conditions still exist today.

6. YOU CALLED YOUR POST ‘WHITE RAPPERS FAQ.’ DID YOU REALLY MEAN ALL WHITE RAPPERS? WHAT ABOUT MACKLEMORE/ AESOP ROCK/ (INSERT CONSCIOUS WHITE RAPPER HERE)?

My first post was specifically about artists like Iggy Azalea and Kreashawn.  Of course there has always been a spectrum of white artists in Hip-Hop who engage with the art differently with different levels of respect and self-awareness (see Brother Ali above).  However, simply being conscious does not give you immunity to criticism or the right for people to question your presence and intent.  Regardless of how ‘conscious’ a white rapper might be, all the points in (2), (3), (4) and (5) still apply.

Also, for everyone who keeps screaming ‘Macklemore!’ at me, please explain this:

http://www.youtube.com/watch?v=H83YWalKuKc

7. WHAT ABOUT EMINEM?

I specifically didn’t talk about Eminem because Harry Allen (Public Enemy’s one time ‘Director of Enemy Relations’) wrote this amazing piece in The Source 10 years ago:

http://www.harryallen.info/docs/TheUnbearableWhitenessofEmceeing.pdf

Everything in that article is still 100% relevant and true, and yes - Eminem opened the door for all of this.

8. RE: FALLON/ TIMBERLAKE ‘HISTORY OF RAP’ - OH, SO YOU’RE SAYING THAT BLACK THOUGHT AND QUESTLOVE ARE TOO STUPID TO KNOW THEY ARE PART OF SOME MINSTREL SHOW?

No, I’m saying that capitalism means people have bills to pay and they end up in compromised positions.  It also means that talentless people are regularly rewarded over those with genuine ability.  So instead of being truly celebrated as a genius and being able to program his own 24-hour  music network, a pioneer like Questlove has to play drums on Jimmy Fallon’s show five nights a week.

Imagine how much smarter your kids would be if they grew up watching  Questlove TV instead of MTV.

* EDIT: Yeah, I photoshopped Elvis’s face onto Eminem. LOL.

.

A message from Anonymous
So I was just wondering if you have any book recs? Devotionals or Bible commentaries or studies or w/e? I have read the Bible multiple times, but I feel like I'm still just skimming the surface, and I would like a text that does go deeper into meaning/context/translation/etc. But I want something that tells me not just the "accepted" status-quo-preserving interpretation of Scripture, but gives me different points of view. Do you know of anything like that?
A reply from millennialgospel

Sure!

For a study bible, I use the English Standard Version here, which is really great for including supplemental material like maps and timelines and stuff. 

For critical resources I recommend:

  • Eve: A Biography by Pamela Norris (if you’re interested in women in the bible)
  • if you want to read the book that was extremely formative for me personally and also is literally the reason this blog exists (for me, at least), read A Theology of Liberation by Gustavo Gutiérrez
  • for commentary/dissection of the Bible itself, check out anything by Robert Asher. He has done a lot of translations of different books of the Bible that are very accessible. 
  • if you want to read several different points of view, Lift Every Voice: Constructing Christian Theologies From the Underside by Thistlethwaite and Engelis a great resource. 

that’s all I have off the top of my head, I think. Hope it helps!

- A 

WHITE RAPPER FAQ

aamerrahman:

image

1. OMG HOW CAN YOU COMPARE RAPPERS LIKE IGGY AZALEA AND KREASHAWN TO BLACKFACE MINSTRELS?

(http://aamerrahman.tumblr.com/image/53915908191)

 image

Blackface was all about white people acting out caricatured, fetishised depictions of black people for the entertainment of white audiences.  Iggy Azalea, Kreashawn etc. are all about… well, you get the picture.  Their entire careers rely on them perpetually acting, talking and behaving like college students at an ironic-not-racist-but-actually-racist  ‘Ghetto Fabulous’ themed frat party.

 

2. ARE YOU SAYING IGGY AZALEA IS RACIST?

Let’s not even start on this: http://diaryofahollywoodstreetking.com/iggy-azalea-leads-racist-twitter-rant/

I’m sure Iggy Azalea doesn’t think Iggy Azalea is racist.  In fact, she thinks SHE is the one being oppressed.  These are her words in response to Eve saying she wasn’t a fan:

 

“Everybody is different, everybody hasn’t lived out of the box and for you to even know if it’s real, you have to kind of be an out-the-box person or somebody who likes something they’re not suppose to. A girl like her that raps is expected, so, how could you understand something so different?

 

Right.  (1) Rap is some kind of forbidden love for a girl like Iggy, (2) OMG black people like Eve rapping are SO CLICHÉ!  How could they possibly understand something as brilliant and original as an white Australian who makes money by doing a bad impression of a black woman?  Also, you don’t call Eve ‘girl.’

 

“I’m not mad at [Eve] for not understanding it,” she continued. “How could you if you’ve never been ostracized or loved something you weren’t suppose to love? Everything you’ve loved you’re allowed to love, so, how could you understand me?I don’t give a fuck if you think I am (real) or not ’cause that girl in the crowd understand it and that’s who it’s for, if you don’t then it’s not for you.” 

 

Okay, so (1) WHERE DOES A WHITE RAPPER GET OFF TELLING A BLACK WOMAN THAT SHE HAS ‘NEVER BEEN OSTRACISED’ AND ALWAYS BEEN ALLOWED TO LOVE WHAT SHE WANTS???

(2) WTF is this about ‘not being allowed to love’ rap???  Asher Roth predictably says similar things – that growing up he felt alienated by the Hip-Hop he listened to because he didn’t feel ‘represented.’

 

PLEASE UNDERSTAND THIS.  COMMERCIAL HIP-HOP IS DESIGNED FOR WHITE PEOPLE.  WHITE PEOPLE ARE THE VAST, OVERWHELMING MAJORITY OF HIP-HOP’S CONSUMER BASE.  WHITE PEOPLE ARE THE OVERWHELMING MAJORITY OF WESTERN CONSUMERS, FULL STOP.  HIP-HOP MUST MEET WHITE PEOPLE’S DEMANDS IN ORDER TO BE FINANCIALLY VIABLE CONTENT FOR ADVERTISERS ON TV, RADIO AND THE INTERNET. HIP-HOP AS AN INDUSTRY SURVIVES ON WHITE PEOPLE’S MONEY.  HIP-HOP AS A PRODUCT RELIES ON APPEALING TO THE WHIMS OF ITS PREDOMINANTLY WHITE FANBASE.  COMMERCIALLY SUCCESSFUL HIP-HOP REFLECTS THE DESIRES AND TASTES OF WHITE PEOPLE.  HIP-HOP IS ONE OF WHITE AMERICA’S FAVOURITE FORMS OF ESCAPE, WHERE YOU GET TO PROJECT AND LIVE OUT FANTASIES ABOUT SEX AND VIOLENCE THROUGH PEOPLE OF COLOUR.  YOU ARE NOT ‘OUTSIDERS’ TO HIP-HOP, YOU ACTUALLY CONTROL ITS PRODUCTION, FORM AND DISTRIBUTION JUST BY BEING WHITE.

 

You are not being excluded. I promise.

 

3. ARE YOU SAYING WHITE PEOPLE AREN’T ALLOWED TO RAP?

White people can and will do whatever the fuck they want regardless of what I might think or say.

This is one of my favourite gems from Iggy:  “This idea that rap should be black… is worrying to me. It’s almost like segregation…isn’t that how conflict (!!?!) starts?”

Um, no.  Actually, it’s nothing like segregation.  And no, people thinking you and your fake, manufactured shit have no place in a culture built on authenticity is not how racism and wars started.  Benevolent white people like you who want to forcibly colonise, appropriate and redefine other people’s culture and history are how racism and wars started.

 

4. REALLY? THE JIMMY FALLON/ JUSTIN TIMBERLAKE ‘HISTORY OF RAP’ SKITS? REACHING, BRAH.

If you say so.  Two douchebag whiteboys doing Hip-Hop karaoke using THE ROOTS as a jukebox?  Really?  Presenting someone else’s art and history (badly) while the coloured folks play backup? While BLACK THOUGHT stands by and watches?  Black Thought is one of the best MCs out and - if you’ve heard his mixtape with J. Period - can actually do incredible impersonations of other rappers.  But that doesn’t matter, because being rich and white like Fallon and Timberlake means you can ride off other people’s talent, history and cultural capital just for kicks while a white studio audience cheers you on. 

PART 2 of this is here: http://aamerrahman.tumblr.com/post/54317063776/white-rapper-faq-part-2

golfdad1992:

Isn’t amazing how people don’t give a shit about misogyny until they can accuse muslims of it in order to justify their islamaphobia?