I’m not upset that you lied to me, I’m upset that from now on I can’t believe you.
Friedrich Nietzsche (via lomasdope)
todays bird

if i look back, i am lost

Janaina Medeiros

shark vs the universe
YOU ARE THE REASON

Product Placement
Claire Keane
Stranger Things
cherry valley forever

Love Begins

No title available
I'd rather be in outer space 🛸
No title available
Lint Roller? I Barely Know Her
Sweet Seals For You, Always
almost home
Sade Olutola
tumblr dot com
Misplaced Lens Cap
Monterey Bay Aquarium

seen from United States
seen from Belgium
seen from Spain

seen from Türkiye
seen from Spain
seen from Spain

seen from United States
seen from United States

seen from Türkiye
seen from United States
seen from Malaysia
seen from Spain
seen from Malaysia

seen from United States
seen from Canada

seen from Australia

seen from Türkiye
seen from Italy
seen from United Kingdom

seen from Malaysia
@pockettknife
I’m not upset that you lied to me, I’m upset that from now on I can’t believe you.
Friedrich Nietzsche (via lomasdope)
Dante’s Inferno (1911).
The deeply worrying thing about catcalling is that the catcaller must know that their target isn’t going to turn around and fall in to their arms pleading ‘oh dear my please have sex with me here and now’. A lot of the time they know that. Often they don’t do it for that, someone who shouts ‘nice tits’ from a van isn’t trying to date you. They’re trying to humiliate you, reinforce their dominance over you; it’s an exercise of male power. It’s a way of communicating ‘I can say and do whatever I want to you, no matter how inappropriate or how uncomfortable it makes you feel, and you can’t do anything about it.’ Catcalling is not a compliment, it’s a threat.
by Raf The Might
Takato Yamamoto
Sappho
~ Believe in yourself ~
“Almost every womon I have ever met has a secret belief that she is just on the edge of madness, that there is some deep, crazy part within her, that she must be on guard constantly against ‘losing control’ — of her temper, of her appetite, of her sexuality, of her feelings, of her ambition, of her secret fantasies, of her mind.
Elana Dykewomon, “Notes for a Magazine,” Sinister Wisdom #36 (Winter 1988/89). (via songsforgorgons)
when u find out ur on ur period it’s like Everything tht has happened recently suddenly makes sense like Oh.that’s why. that’s why everything is ugly and i am suffering
Brujas, a Latina skate crew from the Bronx
“The commercial skateworld, and even the few outlets for girl skaters that exist tend to center white people and culture. Growing up as second-generation Latina, we absorb New York skateboarding and street culture through the lens of a transnational immigrant politic. Brujas, a spanish play off of the cult classic “The Skate Witches,” is about Latina Barrio girl pride. We put forward a vision of a world where women from the barrio, girls like us, are powerful and have agency and channels to express themselves in the streets. As a crew we are aiming to be something in between the Young Lords and Quartersnacks. Revolutionary cosmic Femmes with steelo is how I look at it.”
Women in Punk, Grindcore, and Powerviolence
I don’t have anything to do for a while so i’m just going to compile a list of female-fronted bands in various ~heavy~ genres (punk, grind, pv, fastcore.) Feel free to reblog and add your own.
Blaster Master - three piece fastcore/powerviolence from los angeles
Bleed the Pigs- black-power violence from tenessee
Bloodraised- grindcore from italy, (sounds like 90′s american grind)
Catholic Spit- death rock//death punk from Ventura, CA
Circle takes the Square- experimental/screamo with dual male/female vocals from Brunswick, Georgia
Contravene- anarcho/peace punk with dual male/female vocals from phoenix, arizona
Despise You- west coast powerviolence from inglewood, dual vocal style
The Devotchkas- four piece all female street punk from long island, NY
Flagitious Idiosyncrasy in the Dilapidation- four piece all female japanese grindcore
G.L.O.S.S.- transfemme hardcore punk from olympia
Generacion Suicida - raw latinx punk, from LA, dual vocals
Greedy Mouth- powerviolence from texas, self described as a band that “sounds like: Romantic Gorilla, Fuck On The Beach, Charles Bronson” and made for “Fools on a Quest for Weed, Booze, Vegan Food and Bad Movies
Happy Pill Trauma- 2 piece punky grindcore from los angeles, valerie is tough as shit and my favorite song “beheaded rapist” isn’t on their reverbnation anymore. luckily i have it on mp3
Iskra- blackened crust from victoria, british columbia, lyrical content includes social issues like racism, sexism, homophobia, etc.
Kittie- all-girl four piece metal from canada
Melt-Banana- wild experimental japanese electronic grindcore… exactly
Mind of Asian- four piece fastcore thrashy powerviolence from japan
Mortuary Hacking Session- ALL FEMALE GOREGRIND!!!! so fucking brutal i rarely see women in goregrind let alone an all girl band
O’ God the White Whale- trans woman fronted screamo from north carolina
Pig DNA- brutal punk from Fresno
Purulent Jacuzzi- groovy death metal//gorgrind from Moscow
Rape Revenge- feminist powerviolence from Alberta
Sete Star Sept- two piece japanese noisey grindcore that will fucken tear u apart
Shit Brains- two piece grind/fastcore from los angeles, members of blaster master
Smelling Fetid Corpse (SxFxCx)- grindcore from south america, couldn’t find their exact location
Whorehouse of Representatives- feminist anarcho punk from seattle
Witch Hunt- 3 piece, (2 of which are women) punk from New Jersey//Philly. All three members do vocals.
X-ray Spex- you’ve probably heard of them but they needed to be here anyway
LIFE OF AGONY
where the hell is gallhammer !!
I’m gonna look up all of these
+ nog watt / mydolls / the bags / the nixe / honey bane / rubella ballet / noh mercy / there r soooooo many here’s a comprehensive RYM list : http://rateyourmusic.com/list/drowned_scars/female_vocals__punk_and_hardcore__a_m_/
I am so about all of these bands
the “lolita” covers
here’s a question: if vladimir nabokov’s “lolita” is truly the psychological portrait of a messed up dude and not the girl – let alone a sexualized little girl, as all of the sexualization happens inside humbert humbert’s head – then why do all the covers focus on a girl, and usually a sexy aspect of a girl, usually quite young, and none of them feature a portrait of humbert humbert?
here are nabokov’s original instructions for the book cover:
I want pure colors, melting clouds, accurately drawn details, a sunburst above a receding road with the light reflected in furrows and ruts, after rain. And no girls. … Who would be capable of creating a romantic, delicately drawn, non-Freudian and non-juvenile, picture for LOLITA (a dissolving remoteness, a soft American landscape, a nostalgic highway—that sort of thing)? There is one subject which I am emphatically opposed to: any kind of representation of a little girl.
and yet, the representations of the sexy little girl abound.
i became driven by curiousity. why did this happen? why is this happening?
i am not alone – there’s a book about this, with several essays and artists’ conceptions about the politics and problems of representation surrounding the covers of “lolita.” this new yorker article gives a summary of the book and its ideas, and interviews one of the editors:
Many of the covers guilty of misrepresenting Lolita as a teen seductress feature images from Hollywood movie adaptations of the book— Kubrick’s 1962 version, starring Sue Lyon, and Adrian Lyne’s 1997 one. Are those films primarily to blame for the sexualization of Lolita? As is argued in several of the book’s essays, the promotional image of Sue Lyon in the heart-shaped sunglasses, taken by photographer Bert Stern, is easily the most significant culprit in this regard, much more so than the Kubrick film itself (significantly, neither the sunglasses nor the lollipop ever appears in the film), or the later film by Adrian Lyne. Once this image became associated with “Lolita”—and it’s important to remember that, in the film, Lolita is sixteen years old, not twelve—it really didn’t matter that it was a terribly inaccurate portrait. It became the image of Lolita, and it was ubiquitous. There are other factors that have contributed to the incorrect reading, from the book’s initial publication in Olympia Press’s Traveller’s Series (essentially, a collection of dirty books), to Kubrick’s startlingly unfaithful adaptation. At the heart of all of this seems to be the desire to make the sexual aspect of the novel more palatable.
here’s a couple of kubrick inspired covers:
which very well could have, after tremendous sales, have influenced the following covers:
…straying so far from the intention of nabokov that the phenomenon begins to look more like the symptom of something larger, something sicker.
after a lot of researching covers, it was here, in this sampling of concept covers for the book about the lolita covers, that i found an image that best represents the story to me:
[art by linn olofsdotter – and again, this is not an official cover]
but why aren’t all the covers like that? even the ones published by “legitimate” publishing companies, with full academic credentials, with no intended connection to the film; surely they must have read nabokov’s instructions for the cover. and yet, look at the top row of lolita covers: all legitimate publishing companies, not prone to smut. and yet.
my conclusion is that the lolita complex existed before “lolita” (and of course it did) – a patriarchal society is essentially operating with the same delusions of humbert humbert. nabokov did not produce the sexy girl covers of lolita, and kubrick had only the smallest hand in it. it was what people desired, requested and bought. the image of the sexy girl sells; intrigues; gets the hands on the books.
as elizabeth janeway said in her review in the new york review of books: “Humbert is every man who is driven by desire, wanting his Lolita so badly that it never occurs to him to consider her as a human being, or as anything but a dream-figment made flesh.”
isn’t that our media as a whole? our culture as a whole?
the whole lot of them/us – seeing the world through humbert-tinted glasses, seeing all others as Other and Object, as solipsistic dream-reality. as i scroll through the “lolita” covers i wonder: where’s the humanity in our humanity?
pretty interesting read here
“Na escola foi tranquilo, já na sétima série eu ficava com meninas, e a galera achava super legal, era uma coisa muito nova.
Hoje em dia as pessoas comentam na rua, gritam, chamam de sapatão. Aí eu penso: uau, obrigada por me avisar pessoa, eu não sabia.
Na verdade sofro muito mais preconceito por ser negra do que por ser lésbica. Entro nas lojas com minha irmã branca e as pessoas acham que vou roubar. As pessoas me olham muito feio porque eu sou negra, mas não por ser careca ou por estar com outra menina. Eu nasci assim, não posso mudar isso, nasci negra vou morrer negra, é minha condição. As pessoas ficam mais assustadas de pensar “nossa, essa menina negra tá com a menina branca” do que de pensar “nossa, duas meninas juntas”.
Bruna, 21 anos.
the caption is really important - here is a basic translation courtesy of my limited Portuguese (with help from google):
“School was calm. By the time I was in seventh grade I was dating girls. People thought it was super cool, it was this really new thing.
Nowadays people on the street make comments, they yell at me, call me sapatão [homophobic slur for lesbian, meaning ‘big feet’]. I think ‘Wow, thanks for letting me know, I had no idea.’
In truth, I face more prejudice for being black than for being lesbian. When I’m shopping with my sister, white people think we’re trying to steal. People see me as ugly for being black, but not for being bald or for being with another girl. I was born like this, and I’m going to die like this, I was born black and I’ll die black, it’s how I am. People are more frightened when they think ‘oh my god, a black girl with a white girl’ than ‘oh my god, two girls together.’”
Note: while people from the US might not consider the other woman in these photos “white,” by Brazilian standards she basically is because she’s light skinned. (Brazil has a different system of racial categorization from the US.) Also, calling oneself “negra” is something of a political statement - calling another person “negra” is usually an insult, so lots of Afro-Brazilians have reclaimed the term to proudly declare their Black identity. Many people would consider Bruna to be “morena” because her skin is a medium-brown color, but she presumably uses the label “negra” as part of her identity and to highlight the anti-Blackness she experiences.
thanks sis. very kind of you to add that translation/context.