How many “feminist” takedowns of Katy Perry will mention her appearance as part of the problem? So far, every one I’ve read.
Seattle GRRRL ARMY stands with sex workers in the red-light district of Seattle
Are any of GRRRL ARMY actually sex workers? Or did they just want to make confrontational graffiti in sex worker’s working spaces for their own gratification (what was that about respect again?)? Did any sex workers ASK them to stand with them or did Grrrl Army just decided sex workers needed it?
I’d genuinely like to know.
You have no idea the world of issues I have with ‘human not just a ho’ coming from a non-sex worker.
Can people, oh I dunno, THINK about this shit before mindlessly reblogging it in the effort to prove what good allies they are?
Can people think about the problems with glorifying GLIB AS FUCK graffitti non-sex workers have done rather than promoting the actual words and actions of actual sex workers?
If you are a non-sex worker who has reblogged this and you know me, can you also please ACKNOWLEDGE my words to you right now?
jesus fucking christ
they did this to the outside of where they work?????
can we think of anything that would hurt business and attract cops more than this??
F*eminism: endangering sex workers via masturbatory reclamations [sic] that aren’t reclamations
you know, i went to the seattle grrrl army tumblr. there is no public address anywhere of the comments so many people - some of whom were/are sex workers themselves - left on that picture about how dangerous their ‘fresh paint’ is for sex workers. nothing. no reblogs, no public statement. if you are going to put this kind of thing out there, you better be prepared to respond to critique. perhaps they thought no response would be better than a defensive one. the silence is loud.
if i have learned anything about activism ever, it is to be accountable. to listen to thoughtful critique and respond - and by responding i mean learning and changing, not just being defensive. especially when said thoughtful critiques are coming from the very people you’re claiming to represent.
this goes for personal relationships, too. you have to be accountable. have i fucked up, both personally and publicly? absolutely. will i fuck up in the future? quite probably. i try my best, but i am by nature imperfect. we all are.
any organization i have ever been a part of, i have strived for as much transparency as possible. it’s hard for me because i have so many survival-walls up, but i aim to do this with personal relationships, too. even when it’s scary for me and i feel really vulnerable. i haven’t always gotten there. but i am trying.
not just see-through haziness, but clarity.
these are our goals. (these are my feelings and ideas and goals.)
this is who we are. (this is who i am.)
now that introductions are done, we (i) listen to you. how can we (i) best be a support to you? how can we work together?
sometimes that means stepping back.
sometimes that means acting.
but listening. the key is listening.
realities are most often not convenient or comfortable. they definitely often do not come in cutesy activist-slogan truism form.
Holy crap look at Frida Kahlo’s fucking boots!@
More in this story although it makes the claim that no one knew prior to this she had amazing clothes and taste. Duh
Honey Bane - You Can Be You EP »
Crass provided the backing and the record label. Penny Rimbaud said that ‘You Can Be You’ was deleted from Crass records the same day she signed a contract with EMI.
You can tell what year CRASS records were released by the cat no. They used Orwell’s 1984 as ‘The End’ and counted down towards it. So in this case ‘521984’ means 5 years to 1984 (1979).
In 1984 they split up.
"“I always think that females are insiders, and that female rebellion starts someplace where you’re…"
“I always think that females are insiders, and that female rebellion starts someplace where you’re really trapped…” - Eileen Myles
Sheila: Can you explain what you meant when you wrote that females are insiders?
Eileen: It started with that idea of males being outsiders, which I had been fed for a long time – the idea that the male artist is howling outside of the culture. He is transcendent, omnipotent, or you know, just a rebel; the institutions can’t hold him. And my own female existence was often about trying to imitate a male existence, because all the images of artists I had were of men, so how could I be like that? How could I be Kerouac? But then persistently seeing that in On The Road the girls were jumping off the roof, the girls were fading into the background. And if I really thought about my female existence, it was very much about what it felt like to be in the Myles family, what it felt like to me at my job – feeling oppressed by who had a crush on me, or who didn’t. Institutions seemed to be places where women were sort of held and prodded, and I would have to figure out my freedom from in there. So often it was a hollow pain; the pain of being inside, not the yop of freedom of being outside. Whether I was in a mental hospital or in a job as a camp counsellor, I was institutionalized. So it began to seem like to get wild and crazy would be to say what that really looked like. To really camp out in being female and say how it is.”
“from my recent interview with Eileen Myles (via sheilaheti)”
…Omg, yes. The idea of the outsider, free to create, is another way of looking at the solitary genius myth which is something we have superimposed on male artists a lot, since medieval times, annoyingly. It seems to be valued as a lone-wolf trait, an alpha thing. When it’s really more like abandonment.
This can’t top the Halloween ep we watched last night, but I will watch every Christmas ep today to make sure.
"The term “McJob” has come to epitomize all that’s wrong with the low-wage service industry jobs that…"
The term “McJob” has come to epitomize all that’s wrong with the low-wage service industry jobs that are growing part of the U.S economy. “It beats flipping burgers,” the cliché goes, because no matter what your job might be, it’s assumed to be better than working in a fast-food restaurant.
Today in New York City, though, hundreds of workers at dozens of fast-food chain stores are walking out on strike, demanding better of those jobs. At McDonald’s, Burger King, Wendy’s, KFC, Taco Bell, and Domino’s Pizza locations, workers have been organizing, and today they launch their campaign. They want a raise, to $15-an-hour from their current near-minimum wage pay, and recognition for their independent union, the Fast Food Workers Committee.
Saavedra Jantuah, who works at a Burger King on 34th St. in Manhattan, explained that the $7.30 she makes per hour after two years on the job doesn’t pay her enough to support her son. “I’m doing it for him, I’m going on strike so I can bring my family together underneath one household,” she said. “A union can help us get to where we can make it in New York.”
Cannot even express how thrilled I am about this story. I’ll be on the picket lines with the workers in a couple of hours, with photos and more stories. Service jobs don’t have to be lousy jobs—respect and a decent wage would do a lot.
Every wage a living wage.