(Source: nighttimebreeze)
Young. Political. Frequently feminist. Realist. Sarcastic. Anti-child and pro-pets. Dealing with my own personal demons. Trying to see the world as a burgeoning sociologist.
• Ask me anything
Find the Pony
Find the Pony
how to be a “real woman”: a guide
1. do you identify as a woman
2. congratulations you’re a real woman
(via lady-brain)
“In some ways it was easier for my generation. Racism was blatant and obvious. The “Whites Only” signs let us know clearly, what we were up against. Not much has changed, but the system of lies and tricknology is much more sophisticated. Today young people have to be highly informed and acutely analytical, or they will be swept up into a whirlpool of lies and deception.”
—
Assata Shakur
Taken from her book “Assata: In Her Own Words” (page 31)
(Source: disciplesofmalcolm, via brashblacknonbeliever)
“Sometimes, I feel the past and the future pressing so hard on either side that there’s no room for the present at all.”
— Evelyn Waugh (via chriswaltzs)
(Source: hellanne, via bitchyoudrunk)
That’s the piece that most people forget: The flapper movement wasn’t simply a fashion trend, as Emily Spivack at Smithsonian.com’s Threaded blog explains; it was a full-blown, grassroots feminist revolution. After an 80-year campaign by suffragists, women were finally granted the right to vote in the United States in 1920, when the Nineteenth Amendment was passed. When the U.S. entered World War I in April 1917, many women entered the workforce, and when the soldiers returned in November 1918, their female counterparts were reluctant to give up their jobs.
As a result, young, unmarried women experienced far greater financial independence than they’d ever had before. Bicycles, and then cars, allowed them to get around town without a male escort. The spread of electric lighting allowed nightclubs to flourish, just as the Prohibition Amendment of 1919 forced them to go underground. Drinking at illegal “speakeasies” became a thrilling part of flapper culture. Suddenly, it was possible for women to go out and enjoy freedom and rebellion in a way they never had before when they were beholden to their fathers or husbands.
First, these flappers ditched the constraining, skin-covering clothes of their Edwardian mothers. Inspired by Cubist art and Art Nouveau haute couture, flappers rejected the dramatic, hyper-feminine S-shaped Edwardian silhouette created by tight, time-consuming corsets for sheath dresses that gave them boxy boyish shapes. In fact, this straight up-and-down figure was so extreme that curvier women went out of their way to squeeze into girdles and bandage their breasts flat. It was so severe that Luhrmann’s film doesn’t really go there, as most women today would not want to sport such a curveless look. These radical women pushed the boundaries of androgyny even further by chopping off their long Edwardian locks for bobbed hairstyles.
At the same time, flappers revealed a shocking amount of skin. The older generation was absolutely outraged by the site of bare knees and arms, which flappers would highlight with loads of bangles. They were also appalled by the red lips, rouged cheeks, and kohl-lined eyes of flappers, as previously only prostitutes had worn makeup. But these young women would load up with affordable costume jewelry and take their newly invented lipstick tubes and compacts out with them to speakeasies, where they would smoke, drink hard liquor, listen to jazz, and dance the Charleston, the Black Bottom, or the Lindy Hop, dances considered sexually provocative. So flappers were derided for being both too masculine and too titillating.
Importantly, most flappers felt no particular hurry to get married, since they were working and able to provide for themselves. They dated casually, flirting, kissing, petting, and even had sex with men they had no interest in committing to. It’s not surprising that artistic men like Fitzgerald would find them so attractive—and terrifying enough to make them the center of his novel cautioning against self-indulgence and hedonism. Look what might happen, he seems to worry, if we keep letting women drive cars!
‘The Great Gatsby’ Still Gets Flappers Wrong | Collectors Weekly
“If you are a white woman and you want to call yourself a feminist, you must acknowledge that your whiteness affords you a privilege that shields you from a lot. You must also acknowledge that you are afforded privileges that some men in this country do not have. Racism and sexism are tightly intertwined. You cannot fight one while ignoring the other.”
— ladyatheist (via ellesugars)
(Source: mamaatheist, via fuckyeahfeminists)
“Nobody can save you but yourself — and you’re worth saving. It’s a war not easily won, but if anything is worth winning — this is it.”
— Charles Bukowski (via sarcasmdrips)
(Source: hellanne, via sarcasmdrips)
“A highly influential scheme [of class analysis] is that developed by French sociologist Pierre Bourdieu (1984), which argues that there are three different kinds of capital, each of which conveys certain advantages. He differentiates between (1) economic capital (wealth and income), (2) cultural capital (the ability to appreciate and engage with cultural goods, and credentials institutionalised through educational success), and (3) social capital (contacts and connections which allow people to draw on their social networks). Bourdieu’s point is that although these three capitals may overlap, they are also subtly different, and that it is possible to draw fine-grained distinctions between people with different stocks of each of the three capitals, to provide a much more complex model of social class than is currently used. This recognition that social class is a multi-dimensional construct indicates that classes are not merely economic phenomena but are also profoundly concerned with forms of social reproduction and cultural distinction (Devine, 2004; Savage et al., 2005).”
— Savage et. al. - A New Model of Social Class: Findings from the BBC’s Great British Class Survey Experiment. (via thepovertyoftheory)
(via socio-logic)
Cosmarxpolitan, Issue 9
Say what? 100 deflowering stories you won’t believe
There is a difference between giving up and knowing when you have had enough
