If Facebook Was A Guy →
FACEBOOK: Hi, I’m Facebook.
ME: Nice to meet you, I’m Ryan.
FACEBOOK: What’s your last name? Where do you live? When were you born? What’s your phone number? Is that work or mobile? Can I have your work number too?
ME: Facebook, I just met you.
FACEBOOK: This is what friendship is to me.
Reading @pennyred on the train and thinking fiction.
"It is okay to want your own happiness. It’s okay to care about yourself the most. You are not obligated to sit there and smile and swallow every bit of shit everyone heaps on you. You are more than furniture, you’re more than window dressing, you’re not their shiny toy. You’re human, and you have the right to say “That was shitty of you”. You have a right to protest your own mistreatment and set boundaries for respectful interactions. The rest of the world doesn’t realize you have this right, and they will act offended and appalled when you exercise it, but it is yours."
Dragons are henceforth a feminist icon. You’re no longer allowed to participate in the appreciation of dragons and dragons in culture unless you’re totally down for helping the equality movement.
Anti-feminist blogs are mad about this post so everyone should reblog it.
I saved this image off Tumblr awhile ago and I never thought I’d find another use for it
(Source: officialfolgers, via themarysue)
'Sista Girls' by Bindi Cole:
The term ‘Sistagirl’ is used to describe a transgender person in Tiwi Island culture. Traditionally, the term was ‘Yimpininni’. The very existence of the word provides some indication of the inclusive attitudes historically extended towards Aboriginal sexual minorities.
Colonisation not only wiped out many indigenous people, it also had an impact on Aboriginal culture and understanding of sexual and gender expression.
As Catholicism took hold and many traditions were lost, this term became a thing of the past. Yimpininni were once held in high regard as the nurturers within the family unit and tribe much like the Faafafine from Samoa. As the usage of the term vanished, tribes’ attitudes toward queer indigenous people began to resemble that of the western world and religious right. Even today many Sistergirls are excluded from their own tribes and suffer at the hands of others.
Within a population of around 2500, there are approximately 50 ‘Sistagirls’ living on the Tiwi Islands. This community contains a complex range of dynamics including a hierarchy (a queen Sistergirl), politics, and a significant history of pride and shame. The Sistagirls are isolated yet thriving, unexplored territory with a beauty, strength and diversity to inspire and challenge.
As we have become more comfortable discussing the politics of culture, our discussions of art have become a lot more like our discussions of politics.
We treat people whose interpretations differ from our own as if they are acting in bad faith. We focus on gaffes and supposed gaffes. And we demand that significant figures in cultural commentary have something to say about every big event so we can check their reactions against our sense of what they ought to feel to remain in good standing.
None of this is to suggest that we stop talking about the politics of culture. If we respect television, film, books, music and video games, we must engage seriously with their ideas and the way we communicate with them. The production of art raises serious political and economic issues, whether reality television workers are shunted into freelancing conditions that condemn them to poverty, the high fashion industry enables a culture of sexual coercion, authors’ incomes collapse in a new era of business, or women and people of color are marginalized in front of and behind the camera.
But in discussing big issues, art’s advantage is that it is so different from politics. Art does not need to align with partisan conventions. It can lend moral clarity to the limitations we have accepted on our politics. And speculative fiction can pose scenarios and propose solutions that are liberated from what is actually politically possible. It can hold multiple, even contradictory, ideas in place simultaneously.
I cannot help but wonder if we would enjoy ourselves more and do greater honor to the art we loved so much if we accepted that the conventions of our conversations about art can reflect that same difference.