Gogo Graham Demona Resort 1
bailey stiles and leah james by serena jara
Stranger Things
occasionally subtle

★

if i look back, i am lost
cherry valley forever
Lint Roller? I Barely Know Her
dirt enthusiast
RMH

Janaina Medeiros

⁂

shark vs the universe

Acquired Stardust
Sade Olutola

Discoholic 🪩
Claire Keane

祝日 / Permanent Vacation
we're not kids anymore.
d e v o n
Jules of Nature

seen from United States
seen from Türkiye
seen from Türkiye

seen from United Kingdom
seen from United States
seen from Canada

seen from United States
seen from Poland

seen from Netherlands
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seen from Australia
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seen from Iraq
seen from United States

seen from United States
seen from Bangladesh
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@facadomy
Gogo Graham Demona Resort 1
bailey stiles and leah james by serena jara

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Other Plastic Marvels by the Creator of the Pink Flamingo
He’s most recognized for helping to dot the yards of US suburbs with shocking pink plastic flamingos — the exemplar of kitsch that rose from its resin roots to become the “ambassador of the American lawn” and even a “signpost for the transgression of social and cultural convention.” But Donald Featherstone, who died last week from Lewy body dementia at 79, was also a trained painter and sculptor who left behind much more than his fuchsia specimens, upon which he had bestowed the playful trinomial nomenclature “Phoenicopterus ruber plasticus.”
Melvyn Bragg and his guests discuss the history and significance of eunuchs.
TIME IS NOT ALONE // TIME IS NOT A LINE
Three events putting community to the thoughts and ideas shared in the Time Is Not A Line edition of the We Who Feel Differently journal. April 9, 2015 Have You Been Vulnerable Today? Rusti Miller-Hill, Dethress Ulmer-Lesley and Fortunata Kasege on Solidarity, Disclosure and HIV 6-8pm HUB, Union Theological Seminary Broadway at 121st Street Free, Open to All Seasoned activists Rusti Miller-Hill, Dethress Ulmer-Lesley and Fortunata Kasege offer a powerful feminist view of the ongoing HIV crisis. This welcoming and participatory gathering will find the women leading a discussion around intimate partner violence, incarceration re-entry, trauma, parenthood, faith and disclosure. Active in this conversation will be ideas around unity, community and disclosure. Have you been vulnerable today? How do you act in solidarity? What is at stake for you? What does love in action look like for you?
May 13, 2015 MOBILIZING NEW YORK: AIDS, Antipoverity and Feminist Activism A Conversation between Tamar Carroll and Kenyon Farrow 7-9pm BlueStockings 172 Allen Street Free Open to All In “Mobilizing New York: AIDS, Antipoverity and Feminist Activism”, Tamar Carroll suggests social policies that encourage the political mobilization of marginalized groups and foster coalitions across identity differences are the most effective means of solving social problems and realizing democracy. Carroll will be in conversation with Kenyon Farrow, a powerful voice within global and domestic justice movements.
May 20, 2015 TIME IS NOT ALONE Workshops and Conversations Starting at 1pm Housing Works 743 E 9th Street Free, Open to All. RSVP: [email protected] Join artists, activists, writers and others for a day of art, writing and conversation—with snacks! Pato Hebert will lead a workshop on art and medicine, Cara Page, Martez Smith will respond to the question What would an HIV Doula do?; and Timothy DuWhite will lead a writing workshop that explores the relationship between personal and the state in the age of AIDS.

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Anna Pogorilaya as Leeloo from The Fifth Element in the 2015 Russian Nationals gala.
(Source: mihsersh)
I knew this would blow up
Juliana Huxtable with BULLETT on RACIAL APPROPRIATION
BULLETT: I'm curious as to whether you'd agree that "Blackness is in fashion right now." If so, how/why do you think that's going on?
JULIANA: I think blackness (as long as that concept has existed) has always been in fashion. I think the ways in which blackness is addressed and used as the basis for creative visions of the world mutate over time. I think for a long time, in terms of appropriation, white men were allowed to take on black masculinity, which is where the concept of a 'wigger' comes from. I think that specific vision of white appropriate of blackness happened hand-in-hand with the popular dissemination of hip-hop to white America and the Western world at large. Although there were moments of white women incorporating elements of black style inter their looks (Bo Derek), it wasn't in the same way. There was no appropriation of larger ideas of dress, attitude, speech etc. I think as we enter the 2nd and 3rd+ generations of white kids globally who have ideas of what it means to be white and align oneself with black culture, we've gotten to a unique moment where white women, white gay men, and other races are playing with blackness; its notions of coolness, hardness, urban-ness and specific forms of hyper-sexuality. The internet has abstracted black cultural production from black people and we're experiencing, I think, the product of that separation. Racism doesn't exist less, but the merger of black cultural expression with any idea of authenticity or entitlementment-to- has faded as the internet archives and makes accessible any and every fetish desire, including the desire for or admiration of another culture.
BULLETT: Next, what do you think is lost and what is possibility gained with an increased visibility of racial/ethnic/subcultural/street dress in high fashion and pop culture?
JULIANA: I think whats lost is history. Although I find a lot of what is being widely deemed "appropriation" distasteful, I generally don't have value judgements or ideas of what anyone should or should not be allowed to do, take, wer, etc. What I find disappointing is when the reference of specific black cultural styles, looks or dispositions is done without any understanding of the fact that its tied to real people with real histories. I think there's a playful and witty way of taking elements of black culture(s), but to do so intelligently requires a basic awareness that just because an image was pulled from tumblr, pinterest, google images or a screencap from a youtube video doesn't mean that it exists in a vacuum of context or history and that the distribution of images impacts individual and collective ways of thinking about and operating in the world. If you choose to disregard that, so be it, but lets acknowledge the dynamics that are going on. The now-infamous steven meisel shoot has a long and complex history, ranging from conceptions of jigaboos in the south to the movie B.A.P.S. to the character Bunifa Latifah Halifah Sharifa Jackson on MadTV. So, on a purely aesthetic level Im excited by the fact that different aspects of blackness are being placed in dialogue with other traditions and canons and I think the result is fostering a creative explosion in visual culture, what is unfortunately being lost in most of it is a sense of intelligence and appreciation for history context and the link between aesthetics and political reality.
BULLETT: Do you believe that anyone should be able to wear anything? Inside of fashion? Outside of fashion? Or should we be cautious and educated in our appropriation of other cultures' dress?
JULIANA: I think those are two different questions. I believe anyone should be allowed to do what they want. If a white person wants to show up to a party in blackface, go HAM. But, dont' be surprised when you get the response that ensues. I think a lot of what goes on in terms of the more problematic appropriation of black culture is that its, at base, a joke, desire for attention, way to rustle feathers or expression of some deep seeded racial resentment that you couldn't let rest at racist comments on Youtube videos. I think we should all strive to be educated and maybe if that was emphasized more, we wouldn't find ourselves trapped in cyclical conversations that ricochet between angry accusation and dismissively ignorant arrogance. I've also taken on the policy of rolling my eyes and moving on when I encounter basic, reductive racist appropriation. The power of so much of what is being categorized and attacked as appropriation is that it was meant to get the response that it does. There are a long list of caustic performers, musicians, artists and public figures who act with the intent of getting zealous responses from those who one would assume were in the 'right' (advocates for black people in this case). I choose to focus on the dynamic work I see being done and on the few white people (assuming they're the subject at all) engaging or using as a source of inspiration black culture in informed ways.
BULLETT: Most importantly though, I'm looking for calls to action, possible solutions. What would you like to see change? What can change? And how you think that change can/needs to be carried out?
JULIANA: READ. If you like black culture so much, try to understand it - it will make everything you do cooler and smarter. otherwise ... I guess you're just a wigger.
Jennifer Daniel
Texture Study, 2012

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When the feminist killjoy inside supersedes the thirsty faggot...
“Metal Skin Panic Madox-01,” directed by Shinji Aramaki (1987)
Robot: Master I can do the work of 50 men
Employer: Yes I know that but who is to support the 50 men!
Punch Magazine, January 18, 1933
"Lets feel bad together."

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I JUST WANT SOMEONE TO HOLD ME FOR A FEW DAYS WHILE REMINDING ME I’M DESIRABLE AND WORTHY OF CARE AND PROTECTION IS THAT SO MUCH TO ASK?????
I'M COMING TO GET YOU. I'M COMING TO FIND YOU. SAY HELLO TO YOUR NEW BEST FRIEND.