Wednesday, April 25, 2012
grasstomyknees:

To rude ass people: Don’t touch my fucking hair. Don’t touch my fucking piercings. Don’t make suggestions about the way I should decorate my body. Stop policing my body. Back the fuck off. 
To the rude ass rapey man at the parade: I almost liberated your hand from your wrist. Don’t fucking touch me. 
Don’t touch me. Don’t touch me. Don’t touch me unless I invite you to touch me. 

grasstomyknees:

  • To rude ass people: Don’t touch my fucking hair. Don’t touch my fucking piercings. Don’t make suggestions about the way I should decorate my body. Stop policing my body. Back the fuck off. 
  • To the rude ass rapey man at the parade: I almost liberated your hand from your wrist. Don’t fucking touch me. 

Don’t touch me. Don’t touch me. Don’t touch me unless I invite you to touch me. 

(Source: sinhemingway)

veganltw:

So why can’t I wear it? 

  • Headdresses promote stereotyping of Native cultures.
  • The image of a warbonnet and warpaint wearing Indian is one that has been created and perpetuated by Hollywood  and only bears minimal resemblance to traditional regalia of Plains tribes. It furthers the stereotype that Native peoples are one monolithic culture, when in fact there are 500+ distinct tribes with their own cultures. It also places Native people in the historic past, as something that cannot exist in modern society. We don’t walk around in ceremonial attire everyday, but we still exist and are still Native.
  • Headdresses, feathers, and warbonnets have deep spiritual significance.
    The wearing of feathers and warbonnets in Native communities is not a fashion choice. Eagle feathers are presented as symbols of honor and respect and have to be earned. Some communities give them to children when they become adults through special ceremonies, others present the feathers as a way of commemorating an act or event of deep significance. Warbonnets especially are reserved for respected figures of power. The other issue is that warbonnets are reserved for men in Native communities, and nearly all of these pictures show women sporting the headdresses. I can’t read it as an act of feminism or subverting the patriarchal society, it’s an act of utter disrespect for the origins of the practice. (see my post on sweatlodges for more on the misinterpretation of the role of women). This is just as bad as running around in a pope hat and a bikini, or a Sikh turban cause it’s “cute”.  
  • It’s just like wearing blackface.
    “Playing Indian” has a long history in the United States, all the way back to those original tea partiers in Boston, and in no way is it better than minstral shows or dressing up in blackface. You are pretending to be a race that you are not, and are drawing upon stereotypes to do so. Like my first point said, you’re collapsing distinct cultures, and in doing so, you’re asserting your power over them. Which leads me to the next issue.
  • There is a history of genocide and colonialism involved that continues today.
    By the sheer fact that you live in the United States you are benefiting from the history of genocide and continued colonialism of Native peoples. That land you’re standing on? Indian land. Taken illegally so your ancestor who came to the US could buy it and live off it, gaining valuable capital (both monetary and cultural) that passed down through the generations to you. Have I benefited as well, given I was raised in a white, suburban community? yes. absolutely. but by dismissing and minimizing the continued subordination and oppression of Natives in the US by donning your headdress, you are contributing to the culture of power that continues the cycle today.

But I don’t mean it in that way, I just think it’s cute!

  • Well hopefully I’ve illuminated that there’s more at play here than just a “cute” fashion choice. Sorry for taking away your ignorance defense. 

But I consider it honoring to Native Americans!

  • I think that this cartoon is a proper answer, but I’ll add that having a drunken girl wearing a headdress and a bikini dancing at an outdoor concert does not honor me. I remember reading somewhere that it was also “honoring the fine craftsmanship of Native Americans”. Those costume shop chicken feather headdresses aren’t honoring Native craftsmanship. And you will be very hard pressed to find a Native artist who is closely tied to their community making headdresses for sale. See the point about their sacredness and significance.

I’m just wearing it because it’s “ironic”!

  • I’m all for irony. Finger mustaches, PBR, kanye glasses, old timey facial hair, 80’s spandex—fine, funny, a bit over-played, but ironic, I guess. Appropriating someone’s culture and cavorting around town in your skinny jeans with a feathered headdress, moccasins, and turquoise jewelry in an attempt to be ‘counterculture’? Not ironic. If you’re okay with being a walking representative of 500+ years of colonialism and racism, or don’t mind perpetuating the stereotypes that we as Native people have been fighting against for just as long, by all means, go for it. But by embracing the current tribal trends you aren’t asserting yourself as an individual, you are situating yourself in a culture of power that continues to oppress Native peoples in the US. And really, if everyone is doing it, doesn’t that take away from the irony? am I missing the point on the irony? maybe. how is this even ironic? I’m starting to confuse myself. but it’s still not a defense.

Stop getting so defensive, it’s seriously just fashion!

  • Did you read anything I just wrote? It’s not “just” fashion. There is a lot more at play here. This is a matter of power and who has the right to represent my culture. (I also enjoy asking myself questions that elicit snarky answers.) 

What about the bigger issues in Indian Country? Poverty, suicide rates, lack of resources, disease, etc? Aren’t those more important that hipster headdresses?

  • Yes, absolutely. But, I’ll paraphrase Jess Yee in this post, and say these are very real issues and challenges in our communities, but when the only images of Natives that Americans see are incorrect, and place Natives in the historic past, it erases our current presence, and makes it impossible for the current issues to exist in the collective American consciousness. Our cultures and lives are something that only exist in movies or in the past, not today. So it’s a cycle, and in order to break that cycle, we need to question and interrogate the stereotypes and images that erase our current presence—while we simultaneously tackle the pressing issues in Indian Country. They’re closely linked, and at least this is a place to start.   

Well then, Miss Cultural Appropriation Police, what CAN I wear?

  • If you choose to wear something Native, buy it from a Native. There are federal laws that protect Native artists and craftspeople who make genuine jewelry, art, etc. (see info here about The Indian Arts and Crafts Act). Anything you buy should have a label that says “Indian made” or “Native made”. Talk to the artist. find out where they’re from. Be diligent. Don’t go out in a full “costume”. It’s ok to have on some beaded earrings or a turquoise ring, but don’t march down the street wearing a feather, with loaded on jewelry, and a ribbon shirt. Ask yourself: if you ran into a Native person, would you feel embarrassed or feel the need to justify yourself? As commenter Bree pointed out, it’s ok to own a shirt with kimono sleeves, but you wouldn’t go out wearing full kabuki makeup to a bar. Just take a minute to question your sartorial choices before you go out.       

…and an editorial comment:  I should also note that I have absolutely nothing against hipsters. In fact, some would argue I have hipster-leaning tendencies. In my former San Francisco life, had been known to have a drink or two in the clouds of smoke outside at Zeitgeist, and enjoyed shopping on Haight street. I enjoy drinking PBR out of the can when I go to the dive bars near my apartment where I throw darts and talk about sticking it to ‘The Man’. I own several fringed hipster scarves, more than one pair of ironic fake ray-ban wayfarers, and two plaid button downs. I’m also not trying to stereotype and say that all hipsters do/wear the above, just like not every hipster thinks it’s cool to wear a headdress. So, I don’t hate hipsters, I hate ignorance and cultural appropriation. There is a difference. Just thought I should clear that up.

(Source: veganparty)

Monday, January 23, 2012
fuckyeahtattoos:

ink done by Dave Green @ Sacred Heart Tattoo-Vancouver
photography by Aura McKay (Vancouver) for the Tattoo Project: Body. Art. Image

fuckyeahtattoos:

ink done by Dave Green @ Sacred Heart Tattoo-Vancouver

photography by Aura McKay (Vancouver) for the Tattoo Project: Body. Art. Image

Sunday, January 15, 2012
fuckyeahjizlee:

Jiz Lee
From @JizLee

fuckyeahjizlee:

Jiz Lee

From @JizLee

herdirtylittleheart:

Maybe I’d want a Daddy if she was as pretty as this Daddy is.
For the record this image is pushing all of my buttons.
Source: Porcelain
Another hot picture from this set is here.

herdirtylittleheart:

Maybe I’d want a Daddy if she was as pretty as this Daddy is.

For the record this image is pushing all of my buttons.

Source: Porcelain

Another hot picture from this set is here.

fuckyeahfemmes:

Why are so many queer women still under the impression that, because  they’re a tomboy or sometimes feel butch/boyish, they’re not really  femme or are “less” femme?  For me, this is exactly wrong.  I see tomboy  femme as a form of gender mixing (not gender transgression) that’s both  inside and outside the categories of butch and femme.  I’m fascinated  by tomboy femmes because their gender play makes visible the fluidity  and flexibility of femme, which is otherwise difficult to see. - sublimefemme on the tomboy femme.

fuckyeahfemmes:

Why are so many queer women still under the impression that, because they’re a tomboy or sometimes feel butch/boyish, they’re not really femme or are “less” femme?  For me, this is exactly wrong.  I see tomboy femme as a form of gender mixing (not gender transgression) that’s both inside and outside the categories of butch and femme.  I’m fascinated by tomboy femmes because their gender play makes visible the fluidity and flexibility of femme, which is otherwise difficult to see. - sublimefemme on the tomboy femme.

Sunday, November 27, 2011
floyddd:

I want the both of them. Unf. 

floyddd:

I want the both of them. Unf. 

(Source: reciepts)

missavagardner:

Marilyn was a big supporter of the Civil Rights Movement. Ella Fitzgerald was one of Marilyn’s idols and a major inspiration.  However, the Mocambo nightclub in West Hollywood, the most popular dance spot at the time, refused to let Ella perform there because she was black. Outraged, Marilyn told the owners that if they would let Ella perform, she would be there in the front row every time Ella was onstage. She did, and the two became friends. 
According to the great Ella Fitzgerald: “I owe Marilyn Monroe a real debt…it was because of her that I played the Mocambo, a very popular nightclub in the ’50s. She personally called the owner of the Mocambo, and told him she wanted me booked immediately, and if he would do it, she would take a front table every night. She told him - and it was true, due to Marilyn’s superstar status - that the press would go wild. The owner said yes, and Marilyn was there, front table, every night. The press went overboard. After that, I never had to play a small jazz club again. She was an unusual woman - a little ahead of her times. And she didn’t know it.”

missavagardner:

Marilyn was a big supporter of the Civil Rights Movement. Ella Fitzgerald was one of Marilyn’s idols and a major inspiration. However, the Mocambo nightclub in West Hollywood, the most popular dance spot at the time, refused to let Ella perform there because she was black. Outraged, Marilyn told the owners that if they would let Ella perform, she would be there in the front row every time Ella was onstage. She did, and the two became friends.

According to the great Ella Fitzgerald:
“I owe Marilyn Monroe a real debt…it was because of her that I played the Mocambo, a very popular nightclub in the ’50s. She personally called the owner of the Mocambo, and told him she wanted me booked immediately, and if he would do it, she would take a front table every night. She told him - and it was true, due to Marilyn’s superstar status - that the press would go wild. The owner said yes, and Marilyn was there, front table, every night. The press went overboard. After that, I never had to play a small jazz club again. She was an unusual woman - a little ahead of her times. And she didn’t know it.”

Friday, November 25, 2011
billyjane:

liquidnight:Hans G. Casparius
“A Grasshopper”
From Voluptuous Panic: The Erotic World of Weimar Berlin
[billy’z edit:i coudn’t find much about the photographer but there’s a gallery with some of his 1930s NY shots here;]

billyjane:

liquidnight:Hans G. Casparius

“A Grasshopper”

From Voluptuous Panic: The Erotic World of Weimar Berlin

[billy’z edit:i coudn’t find much about the photographer but there’s a gallery with some of his 1930s NY shots here;]


vintagegal:

1930’s erotica

vintagegal:

1930’s erotica