the unexpected joy of the worst summer of our lives by christine mi for vox
AnasAbdin
YOU ARE THE REASON

blake kathryn
hello vonnie
Keni

Andulka
let's talk about Bridgerton tea, my ask is open
$LAYYYTER
Today's Document
will byers stan first human second

⁂

No title available
Cosmic Funnies
trying on a metaphor
TVSTRANGERTHINGS
almost home

Kiana Khansmith

❣ Chile in a Photography ❣

Discoholic 🪩
No title available

seen from United States
seen from Singapore

seen from Malaysia

seen from Malaysia
seen from United States
seen from Austria

seen from United States
seen from United States
seen from United States

seen from United States

seen from Romania
seen from United States
seen from United States
seen from Norway
seen from Malaysia

seen from Taiwan

seen from United States

seen from United States

seen from United States

seen from Malaysia
@pigeonesq
the unexpected joy of the worst summer of our lives by christine mi for vox
The Adventures of Guille and Belinda and the Enigmatic Meaning of their Dreams by Alessandra Sanguinetti
If you aren’t listening to the BBC’s radio adaptation of Fatherland, you are missing out. … On, for instance, Miss Maguire (above), American woman journalist in a 1964 Germany where the Reich is still in power. Can we say ‘agent of chaos’? I think we can.
Episode 1 only lasts till Monday the 8th, and as you have to start there you’d better hurry and catch it!
It’s happened again, the BBC have rerun the possibly my favourite radio drama ever (and I’ve listened to a LOT), their amazing adaptation of Fatherland – available till Sept 7th. It starts off hitting every noir trope you can think of – hardbitten detective, scrappy girl reporter, a mysterious death that unravels a much larger story – but it ends up so transporting and perspective-shifting it can only be art. Please listen while you have the chance. You won’t regret it.
Yew trees, 7-8pm
We’re having a sale–
Reviewing 1950s Nuclear Family Barbecuing Art
Notice how the wife is in the background waving for help before she plans to toss her son into the river, she wishes the husband would look at her, but the husband only cares for MEAT– pay attention to these themes for they will show up later.
wife is still in the background and MEAT is still in the foreground, but she is happy this time in her virginal white dress and all is right with the world. There son has yet to be tossed into the river.
TWO children now with a girl child learning to dispense not only MEAT but alcohol, the wife is in the background, but her smile is frozen and stiff on her face. She knows what the raggedy anne doll at the bottom knows.
everyone is so fucking HYPED for this new meat STICK– no longer limited to the round, finite circle. The father is the most excited of all. Watch as friend Tommy enters the scene from the background and the wife is now wearing pink instead of white. She will never return to her perfect unknowing ways.
1950s gay fucking panic. the circular meat is burning. the wife is wearing red. Jimmy and Tommy are going to go on a “fishing trip” and he won’t look her in the eye when they return. The other wife in white lives in ignorance, but not for long as DOUBT enters her expression.
the wife has finally taken center stage. She sets the table without looking at her husband who stands guiltily with his weird magic stick in the background. The daughter rushes away from her brother who has emerged from the river to hover across the ground and seek vengeance.
They are a broken family with only MEAT in the center left to remain.
being a fine arts student isn’t so hard.
You are my pride and joy
prints | etsy | instagram | twitter
Trees.
https://www.instagram.com/dock.vincent/
The conversation surrounding cultural appropriation has been so severely mutilated by white “allies” that the original intention behind that conversation has become almost unrecognizable in most social contexts.
To explain what I mean, the conversation around cultural appropriation was started by black and native people to discuss the frustrations we feel at being punished socially and financially for partaking in our cultural heritage while white people could take, I.e. appropriate, aspects of our culture that we are actively shamed for and be heralded as innovators. It was about the frustrations we feel when the same white people who shamed us would take our culture and wear it as if they were the ones who created it while still actively shaming us for doing the same.
The original push behind naming cultural appropriation and having these conversations were so that we as a society could evaluate why we were punished for our heritage while white People were not. It was supposed to be about seeking solutions. The idea was to create a society where we could celebrate our cultures with impunity. It was never about telling white people that they “weren’t allowed” to do certain things. We did ask that white People stop doing certain things because they weren’t doing them respectfully and were not invited to do them, but the primary reason we asked them to desist was to reclaim the things they had stolen and to reassign them culturally back where they belonged.
White “allies” saw these conversations happening and instead of trying to aplify our own voices or even try to learn about the complexities behind why we were saying what we were saying, they instead began screaming over us and creating a narrative that was hardly even the bones of what we originally set out to say. It was like they took the conversation we were trying to have, completely decontextualized it, and stripped it of all it’s nuance in order to gain social currency by seeming progressive.
So the conversation around cultural appropriation went from “This aspect of our heritage belongs to us and we find it egregious that we are shamed for it. What steps can we take to address the racism that’s creating this situation as well as rehome the things that have been stolen” to “you’re not allowed to do that because if you do that you’re racist, we don’t really understand why that’s racist but you’re not allowed to do that and if you do that you’re a klansman no exceptions. So you’re not allowed because because”
At the end of the day, did I like the fact that sally was wearing dreads? No. But my primary concern was not that sally was wearing dreads but rather that sally could wear dreads and I couldn’t. THAT was the intended focus of those conversations. It was about addressing the inequality. It was about us. Now the conversation is just about sally and were completely forgotten.
White People are always asking me what they can do to help. You want to know? Stop talking. Aplify our voices and shut the fuck up because you all have pretty much derailed this conversation and many more like it to the point that we no longer are trying to make steps to understand and dismantle the racism around cultural appropriation and instead are just using it as social shaming tactics.
Edit:
White People, this is not me saying that we should allow y’all to just culturally appropriate our cultures. This is me saying that I need white allies to know why it’s bad beyond just “that’s racist” it is racist. But we need y’all to know why and to be able to work towards solutions. Why is that not clear here.? I don’t like y’all.
PRIVACY IS A THING
finding you
One of the first books I read in English as a kid, maybe 1 year after I started learning English, was a booklet with a title like, How to Have a Great Time at Summer Camp. I don’t remember the exact title and I know I only picked it up because the other books in English in my school’s library looked way beyond my level, stuff like Austen and Dickens. The summer camp booklet didn’t look too interesting but it was small with simple sentences. I ended up being fascinated with it because it was the most American thing I had ever seen and it felt impossibly exotic
all the kids had cool American names like Jill and Mike. One of them at one point talked about the “chipmunks” in the woods near the camp, a mysterious word that didn’t exist in my tiny English dictionary, and for some reason I pictured them as scrawny wolves. I had read Little House on the Prairie so I knew wolves were a major concern for Americans
camp “counsellors” were often mentioned, and my pocket English dictionary only defined that word as “psychologue”. I thought it was weird how American summer camps had dozens of psychologists roaming the premises, one for every 5 to 10 kids. That felt like a lot of psychologists
I had no idea that the word “pet” could mean “favourite”. When the booklet said one kid might become “the camp counsellor’s pet”, my dictionary helpfully led me to believe it meant that a psychologist would pick one unfortunate kid to be his domestic animal for the summer. Slightly disturbing. I moved on
the kids slept in “bunks” and my stupid dictionary only defined this word as “couche”. Which is not wrong, but we would probably say couchette instead, or better yet lits superposés, and couche is also our word for diaper so you can see why I continued being deeply intrigued by every new detail I learnt in this booklet. American kids are excited about camp because they get to sleep in diapers
I had never encountered the word “baseball” before but managed to guess it was some kind of sport, but when the booklet mentioned the “baseball diamond” (in the context of a kid saying the baseball diamond was big) I of course assumed it was an actual diamond that you could win if you won a game of baseball at camp. For some reason I had a debate with a classmate over the plausibility of this. I say for some reason because I didn’t really question the wolves or the psychologists with their human pets. A diamond though? Doubt. I just remember that we were queueing up for lunch and I was like “What do you think?” and my friend said hesitantly, “Maybe if it’s a small diamond?” and I insisted “No! The book says it’s big!”
among the basic items the book said every kid should bring to camp were “batteries”. I didn’t bother looking up that word in my dictionary seeing as it’s the same in French. I didn’t know it was a false friend, and I was impressed to learn that most American kids own a drum set and bring it to camp as an essential item
on the same page, in the list of things every kid should put in their suitcase for summer camp, another item was “comic books”. I wasn’t sure what those were since in French we call them BD, but basing myself on the word “comic” I assumed they were books of jokes and puns. I loved learning that in the US all kids bring humour anthologies to summer camp, presumably because they worry about running out of funny things to say. I thought American kids sounded nervous and sweet. But also really cool, because of all the drums
I always get so fucking mad when I remember that it’s actually a 16-year-old Algerian girl who influenced BOTH Picasso and Matisse. and. No one gives a rat’s ass about her work which was very focused on women and nature. History -or people dare I say- didn’t bother to remember her name because she was a young Algerian woman and no one cares about Maghrebi/Arab women. unlike P*casso & M*tisse who both became legends, almost gods both during their lives and after their deaths, no one knows her.
Her name was Baya Mahieddine.
i hope that more people know about her now, especially seeing as OP literally linked to an article about a Baya Mahieddine exhibition in 2018.
It is remarkable that she had such a strong practise and had great influence at 16. Despite various disruptions that caused her to stop painting, she returned to her practise from the 60s until the end of her life.
It was within her work that Baya found freedom. The world she painted, after all, is one where women assert their individuality and are free from the men who attempt to brand them with labels, keep them inside the home, or hold them back in any way. “If I change my paintings, I will no longer be Baya,” the artist said in 1991, after her husband died and she’d returned to painting. “When I paint, I am happy and I am in another world.”
More on Mahieddine’s work here.
“For lonely people, rain is a chance to be touched.”
— Simon Van Booy
leaves and blossoms along the way, mary oliver
Sun Cat. 7 x 5 inches, oil on hardboard.
The Untamed | Fatal Journey