[ID: A fake screenshot of Genius lyrics showing a quote from a Taylor Swift song called, Rainbow Dress, that says, “I wanna have straight sex / At the gay pride parade.” End ID.]
Alisa U Zemlji Chuda

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One Nice Bug Per Day
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@wingsofbadass
[ID: A fake screenshot of Genius lyrics showing a quote from a Taylor Swift song called, Rainbow Dress, that says, “I wanna have straight sex / At the gay pride parade.” End ID.]

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Yeah sorry I can't come into work today. I accidentally heard Primadonna by Marina formerly of and the Diamonds. So I need the day to be a primadonna girl. Yeah it's going to be the whole day.
Anything that claims that it can sort all humans into neat categories is bullshit, sorry to say. The sex binary, the gender binary, astrology, MBTI, love languages, whatever. Humans are hugely complex and unique and not a single person on this earth can be accurately described using simple terms like that.
Considering showing up Goth as fuck to my cousin's wedding next week. Last time I shocked the aunties with bright purple hair, but they've grown used to that. I gotta supply something new for them to talk about, it's only polite!
mostly i do god knows what

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Don't be so sure.
Taemin - Move
Coachella Week 2 [x]
I haven’t said anything interesting in a long while. this will continue
that moment by the end of sinners where the harrowing opening scene of sammie walking into the church bloody and beaten, shellshocked, terrified, holding his broken guitar, and his father is welcoming him back into the fold of the church like a prodigal son, and it seems to be the perfect set up for a religious cautionary tale of the consequences of straying from god... but it's then resolved in this instant transition where you see sammie driving away, crying, still clutching his guitar despite it all and it hits all in one moment that he has rejected christianity and chosen blues even though he's just gone through this horrible, traumatic event "because" of "the devil's music" - that he has uncovered and refused the abusive fallacy at the center of christianity that the bad things that happen to you if you stray are because of the things you love that are against bible doctrine, that it's your fault and you've brought it upon yourself. and he said no! he said no. and then we see him go on and live to have this successful career and know that he was right, that the association of blues with the devil was a lie. that's it that's what it's like. i bawled my eyes out at the movie theatre especially in combination with the beauty and terror of the piece the resistance of the film, the scene where the spirits of the past and future all come together to unapologetically embody that music, that history, even as they are surrounded by flames burning the building down, and it's like: fuck you, we'll have the party in hell, then, but god damn it we will have it

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Sailor Moon
By Angela Vianello
i've been phasing the phrase 'google it' out of my vocabulary and going back to 'look it up'. fuck you youve lost your generic trademark privileges
Self-explanatory
if you vote me for president i vow to make everything the ocean again. no more land only ocean. this will solve all of our problems and replace them with new, far more interesting problems
want by taemin

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has anyone considered that it was probably her house too. where else was she supposed to put her chintz?
I like this question because I think it really gets at the power dynamics at the center of the poem!
The poem frames "him" as subordinate in several ways, not just to the narrator ("i fuck him on the floor": not that getting fucked is inherently subordinating, but the narrator has all the agency in the phrase, "he" doesn't decide what happens or where) but also to "his wife". She has filled the house with chintz, meaning it wasn't his decision or his actions. "Filled" is also a choice of words that suggests that there is no space for him in the home: the only place left for him, not already filled, is the floor. To me this framing invokes the trope of the henpecked husband, whose wife has taken dominion over the home and who has ceded its control to her because it, as the domestic space, is "supposed" to be hers.
This trope, of course, is misogynist in its normative rendition: it reinforces gender essentialism, it erases the significant material benefits such "henpecked" men derive from the domestic labor of their spouses, and it dismisses women's expressions of suffering and attempts at negotiating terms for their relationships as "nagging." In the narrator's dismissal of the wife's possessions as "chintz" (frivolous, feminine, contrasted with what is "real") we can see this same misogyny at play.
The narrator's misogyny, and the central fact of the poem which is that the husband is getting fucked by someone other than the wife, quite possibly flip the power dynamics of the poem on their heads. The wife is now subordinated: both by her social marginalization based on gender (a marginalization which drives her into the home and confines her there, like OP so cogently points out! As "he" has run out of room in the home and can only get fucked on the floor, so has she run out of room socially; the only place she can control and make decisions like filling it with chintz is the home), and by the narrator who is fucking her husband in her home.
There's an additional dynamic in reading the narrator as male, which most readers seem to have done: it invokes the particular, bitter misogyny that men-loving-men sometimes direct at women expressing femininity. There's an envy to it, of course--straight and straight-passing women get to (are forced to) express desire for men, have sex with men, marry men, love and be loved by men. His wife gets to be his wife: the narrator gets to fuck him, in their home. Straight and straight-passing women also get to (are forced to) perform femininity: they can buy chintz and decorate with it, without being devastatingly punished for it like people presumed to be men are from the time they're babies. The envy mixes with misogyny to produce disdain, disgust, dismissal. We can read the narrator fucking him on the floor of their home as an expression of power and dominance (again, not that the fucking has to mean the narrator is topping, or that topping is inherently dominant, but the phrasing is stark: "i fuck him", the narrator acts upon him as an object/recipient), not just over him but over the wife in absentia as well.
I think one of the things that makes the poem so compelling for being so short is the struggle at the heart of it, this complicated jostling for power between three people and their actions over time (the wife "has filled" the house, in the past: the narrator fucks him in the present, perhaps in the habitual). Who controls the house? Who controls "him"?
Great poem, great discussion question, love everyone in this bar <3
i love jester