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Anyway here's my reading list for my big film censorship project in case anyone's been wondering what I've been up to when I'm not being a stupid idiot cringey fandom blogger or whatever the jackasses think I am:
Vaudeville, Old and New: An Encyclopedia of Variety Performers in America, by Frank Cullen
Vaudeville and the Making of Modern Entertainment, 1890-1925, by David Monod
From Traveling Show to Vaudeville: Theatrical Spectacle in America, 1830-1910, edited by Robert M. Lewis
American Vaudeville as Ritual, by Albert F. McLean Jr.
American Vaudeville As Seen by its Contemporaries, edited by Charles W. Stein
Rank Ladies: Gender and Cultural Hierarchy in American Vaudeville, by M. Alison Kibler
The New Humor in the Progressive Era: Americanization and the Vaudeville Comedian, by Rick DesRochers
Humor and Ethnic Stereotypes in Vaudeville and Burlesque, by Lawrence E. Mintz
"Vaudeville Indians" on Global Circuits, 1880s-1930s, by Christine Bold
The Original Blues: The Emergence of the blues in African American Vaudeville, by Lynn Abbott and Doug Seroff
Waltzing in the Dark: African American Vaudeville and Race Politics in the Swing Era, by Brenda Dixon Gottschild
The Wizard of Menlo Park: How Thomas Alva Edison Invented the Modern World, by Randall Stross
Edison, by Edmund Morris
The Rise and Place of the Motion Picture, by Terry Ramsaye
The Romantic History of the Motion Picture: A Story of Facts More Fascinating than Fiction, by Terry Ramsaye (Photoplay Magazine)
Before the Nickelodeon: Edwin S. Porter and the Edison Manufacturing Company, by Charles Musser
The Kinetoscope: A British History, by Richard Brown, Barry Anthony, and Michael Harvey
The Man Who Made Movies: W.K.L. Dickson, by Paul Spehr
A Million and One Nights: A History of the Motion Picture, by Terry Ramsaye
Emergence of Cinema: The American Screen to 1907, by Charles Musser
Dancing for the Kinetograph: The Lakota Ghost Dance and the Silence of Early Cinema, by Michael Gaudio
The First Screen Kiss and "The Cry of Censorship," by Ralph S.J. Dengler
Archival Rediscovery and the Production of History: Solving the Mystery of Something Good - Negro Kiss (1898), by Allyson Nadia Field
Prizefighting and the Birth of Movie Censorship, by Barak Y. Orbach
A History of Sports Highlights: Replayed Plays from Edison to ESPN, by Raymond Gamache
A History of the Boxing Film, 1894-1915: Social Control and Social Reform in the Progressive Era, by Dan Streible
Fight Pictures: A History of Boxing and Early Cinema, by Dan Streible
The Boxing Film: A Cultural and Transmedia History, by Travis Vogan
Policing Sexuality: the Mann Act and the Making of the FBI, by Jessica R. Pliley
Screened Out: Playing Gay in Hollywood, from Edison to Stonewall, by Richard Barrios
The Ashgate Research Companion to Moral Panics, edited by Charles Krinsky
A Companion to Early Cinema, edited by Andre Gaudreault, Nicolas Dulac, and Santiago Hidalgo
The Silent Cinema Reader, edited by Lee Grieveson and Peter Kramer
The Harlot's Progress: Myth and Reality in European and American Film, 1900-1934, by Leslie Fishbein
Oscar Micheaux and His Circle: African-American Filmmaking and Race Cinema of the Silent Era, by Pearl Bowser, Jane Gaines, and Charles Musser
Banned in Kansas: Motion Picture Censorship, 1915-1966, by Gerald R. Butters, Jr.
Black and White and Blue: Adult Cinema From the Victorian Age to the VCR
Complicated Women: Sex and Power in Pre-Code Hollywood, by Mick Lasalle
Dangerous Men: Pre-Code Hollywood and the Birth of the Modern Man, by Mick Lasalle
Pre-Code Hollywood: Sex, Immorality, and Insurrection in American Cinema, 1930-1934, by Thomas Doherty
Forbidden Hollywood: The Pre-Code Era (1930-1934), When Sin Ruled the Movies, by Mark A. Vieira
Sin in Soft Focus: Pre-Code Hollywood, by Mark A. Vieira
Hollywood's Censor: Joseph I. Breen & the Production Code Administration, by Thomas Doherty
The Dame in the Kimono: Hollywood, Censorship, and the Production Code, by Leonard J. Leff and Jerold L. Simmons
Moral House-Cleaning in Hollywood: What's it All About? An Open Letter to Mr. Will Hays, by James R. Quirk (Photoplay Magazine)
Will H. Hays - A Real Leader: A Word Portrait of the Man Selected to Head the Motion Picture Industry, by Meredith Nicholson (Photoplay Magazine)
Ignorance: An Obnoxiously Moral morality Play, Suggested by "Experience," by Agnes Smith (Photoplay Magazine)
Close-Ups: Editorial Expression and Timely Comment (Photoplay Magazine)
Children, Cinema & Censorship: From Dracula to the Dead End Kids, by Sarah J. Smith
Freedom of the Screen: Legal Challenges to State Film Censorship, 1915-1981, by Laura Wittern-Keller
Picturing Indians: Native Americans in Film, 1941-1960, by Liza Black
America on Film: Representing Race, Class, Gender and Sexuality at the Movies, by Harry M. Benshoff and Sean Griffin
White: Essays on Race and culture, by Richard Dyer
Black American Cinema, edited by Manthia Diawara
Colorization: One Hundred Years of Black Films in a White World, by Wil Haygood
Hollywood's Indian: the Portrayal of the Native American in Film, edited by Peter C. Rollins and John E. O'Connor
Wiping the War Paint Off the Lens: Native American Film and Video, by Beverly R. Singer
Celluloid Indians: Native Americans and Film, by Jacquelyn Kilpatrick
Native Americans on Film: Conversations, Teaching, and Theory, edited by M. Elise Marubbio and Eric L. Buffalohead
Framing Blackness: The African American Image in Film, by Ed Guerrero
Toms, Coons, Mulattoes, Mammies, & Bucks: An Interpretive History of Blacks in American Films, by Donald Bogle
Hollywood Black: the Stars, the Films, the Filmmakers, by Donald Bogle
White Screens, Black Images: Hollywood From the Dark Side, by James Snead
Latino Images in Film: Stereotypes, Subversion, and Resistance, by Charles Ramirez Berg
Reel Inequality: Hollywood Actors and Racism, by Nancy Wang Yuen
Visions of the East: Orientalism in Film, edited by Matthew Bernstein and Gaylyn Studlar
The Hollywood Jim Crow: the Racial Politics of the Movie Industry, by Maryann Erigha
America's Film Legacy: The Authoritative Guide to the Landmark Movies in the National Film Registry, by Daniel Eagan
Movie-Made America: A Cultural History of American Movies, by Robert Sklar
Of Kisses and Ellipses: The Long Adolescence of American Movies, by Linda Williams
Banned in the Media: A Reference Guide to Censorship in the Press, Motion Pictures, Broadcasting, and the Internet, by Herbert N. Foerstel
Censoring Hollywood: Sex and Violence in Film and on the Cutting Room Floor, by Aubrey Malone
Hollywood v. Hard Core: How the Struggle Over Censorship Saved the Modern Film Industry, by Jon Lewis
Not in Front of the Children: "Indecency," Censorship, and the Innocence of Youth, by Marjorie Heins
Degradation: What the History of Obscenity Tells Us About Hate Speech, by Kevin W. Saunders
Censoring Sex: A Historical Journey Through American Media, by John E. Semonche
Dirty Words & Filthy Pictures: Film and the First Amendment, by Jeremy Geltzer
Flaming Classics: Queering the Film Canon, by Alexander Doty
Masculine Interests: Homoerotics in Hollywood Film, by Robert Lang
Monsters in the Closet: Homosexuality and the Horror Film, by Harry M. Benshoff
New Queer Cinema: A Critical Reader, edited by Michele Aaron
New Queer Cinema: The Director's Cut, by B. Ruby Rich
Now You See It: Studies on Lesbian and Gay Film, by Richard Dyer
Gays & Film, edited by Richard Dyer
Screening the Sexes: Homosexuality in the Movies, by Parker Tyler
Out in Culture: Gay, Lesbian, and Queer Essays on Popular Culture, edited by Corey K. Creekmur and Alexander Doty
Out Takes: Essays on Queer Theory and Film, edited by Ellis Hanson
Queer Images: a History of Gay and Lesbian Film in America, by Harry M. Benshoff and Sean Griffin
The Lavender Screen: the Gay and Lesbian Films, Their Stars, Makers, Characters, & Critics, by Boze Hadleigh
The Celluloid Closet: Homosexuality in the Movies, by Vito Russo
Tinker Belles and Evil Queens: the Walt Disney Company From the Inside Out, by Sean Griffin
The Encyclopedia of Censorship, by Jonathon Green
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Glitz, Diversity, and Representation in "The Proud Family" Revival
[Screenshot: The Proud Family: Louder and Prouder]
On February 23, 2022, The Proud Family: Louder and Prouder premiered on Disney+. This series tells the story of 14-year-old Penny Proud and her family as they navigate their lives in the California town of Smithville, from the schoolyard to the home.
Reprinted from The Geekiary, my History Hermann WordPress blog, and Wayback Machine. This was the thirty-fifth article I wrote for The Geekiary. This post was originally published on May 9, 2022.
The Proud Family: Louder and Prouder is a coming-of-age animated comedy and sitcom by two Black men, Bruce W. Smith and Ralph Farquhar. It is a reboot of the acclaimed two-season animated series, The Proud Family, which aired on the Disney Channel from 2001 to 2005. Smith is also known as a director of films such as Bébé's Kids and Hair Love, and co-creator of Da Boom Crew.
Spoiler Warning: This theme-centric post discusses some spoilers for The Proud Family: Louder and Prouder.
Trigger Warning: This post mentions sensitive topics such as homelessness, sexism, bullying, and abusive families.
The first season of this all-ages animated series began with a bang. The first four episodes focused on the inhumanity of zoos, power of social media influencers, basketball, remaining true to who you are, standing up for your values, and homophobia, as I pointed out in my series recommendation on March 13.
The other six episodes in season one continue to focus on pertinent themes. This includes amusement parks, ride-sharing apps, college life, homelessness, crowdfunding, Latine culture, genealogy, and reality shows.
The animation remains smooth and defined throughout all 10 episodes of The Proud Family: Louder and Prouder. This is accompanied by spoken Spanish with subtitles. That's an improvement from the original, which had no subtitles for Spanish speakers, and storylines which pull you in. The same can be said for the show's pop music, with tunes which showcase the character's talents.
The voice actors shine through in all the episodes, as do the recurring or guest stars. This includes people such as Brenda Song, who voices reporter Vanessa Vue, Logan Browning, Bresha Webb, Lena Waithe, Jaden Smith, and Tiffany Haddish.
Social commentary
In keeping with the original series, The Proud Family, this series continues to engage in social commentary on various issues. This includes worker/animal exploitation by Penny's father, Oscar (voiced by Tommy Davidson). He has a monkey named Mr. Chimps who works for his business, Proud Snacks, which makes disgusting snacks but happens to stay in business.
In the show's sixth episode, Penny and her friends begin a ride-sharing business named Get-In, where people can work for a small amount of pay. All of Penny's (voiced by Kyla Pratt) friends, apart from Zoey (voiced by Soleil Moon Frye), abandon her in this endeavor. She becomes successful after gaining popularity on social media for the app. But, this doesn't last. Thanks to Oscar, her business crashes and burns, as Mr. Chimps is driving a taxi without a license.
In a later episode, Penny, tired of her parents, summons Al Roker (voiced by himself). He transports her to an alternative episode where she is in college for a week, saying that if she stays after that period, it is permanent.
While there, she becomes enthralled in the party scene, drives recklessly, and falls behind in her classes. As a result, her friends leave, with Maya (voiced by Keke Palmer) calling it a "glorified plantation". In the process, she becomes indebted to Roker, telling her that she needs to pay tuition, go to class, and pay her food tab.
A grown-up Penny hugs her father, Oscar
The episode shines a light on precarity of college students exploited through student debt and their financial situations. In order to pay off her debt, she has to sell junk and be in class or she will be there for eternity. There is also a scene where she sells school books back to the college library. She receives $3.50 for them, even though she spent over $1,000 for the books.
In other episodes of The Proud Family: Louder and Prouder, homelessness is highlighted as an issue. In the show's eighth episode, Penny and her friends work together to help a strict substitute teacher, Ms. Hill (voiced by Tiffany Haddish). The school fired her after people learned that she was living in the school since she had nowhere else to live.
Although Ms. Hill causes consternation in Penny's home, insulting her family members and forcing them to take Black history classes, Penny becomes her biggest advocate. In a school assembly, she tells students that teachers should get paid a living wage. She also asks people to contribute to a fund allowing Ms. Hill to find a decent place to live.
Due to the students' perception of Ms. Hill, they bristle at the idea that that give money to her. Thanks to Zoey's dance going viral, they are able to raise enough money. In the end, Ms. Hill goes off with Penny's uncle, Bobby, and both are romantically engaged.
Family strains and the importance of family
Like Disney series such as Kim Possible, Phineas & Ferb, The Ghost and Molly McGee, and Milo Murphy's Law, there is a focus on the value of family. This follows Disney's family-friendly brand.
In The Proud Family: Louder and Prouder, this is not without strain. Penny often clashes with her father, Oscar, who interrupts her date with her boyfriend, Kareem, and puts parental blocks on her laptop. However, she gets around this, in one episode, by using a burner phone.
Time and time again, Penny realizes the importance of being grown and bonds with Oscar. In one episode, she apologizes to Oscar. She asys that she thought that being alone was going to be easy but isn't ready for it. He reassures her that she has time to figure it out and that before she is on her own, her family has got her back.
Throughout the first season, Oscar and Penny have important bonding moments. This offsets any negative characteristics which could be seen as reinforcing stereotypes.
At times, Oscar seems like he is being sexist and stuck in the old ways, like when he declares that "cooking is a woman's job". However, Penny also believes that cooking is her mom's job.
Oscar is as much of a loving father as Homer is in The Simpsons or Anne Boonchuy's father in Amphibia. He cares about Penny, although he isn't always the best at showing it.
The family's dynamics are colored by continued tensions between Oscar and his wife, Trudy (voiced by Paula Jai Parker), as she often belittles him for his inane antics. At other times, they come together and enjoy each other's company.
Oscar's beliefs are not unique, in this regard. Bobby (voiced by Cedric the Entertainer) is also shown to be somewhat sexist. In one episode, he acts like he is going to help Zoey with her dancing and instead he makes her do all sorts of housework. On the one hand, he does help her by having her listen to funky music and gives her certain dance moves, allowing her to dance on stage. On the other, how he acts toward Zoey says something about his character and his treatment of women.
Suga Mama Proud (voiced by Jo Marie Payton), Penny's hip wrestling grandmother, has a continued presence in the Proud household. Even though she has her own place to live, she often hangs out in the Proud house. She is the mother of Oscar and Bobby, and has an ongoing courtship with Papi Boulevardez, a grandfather of their Latine neighbors.
Throughout the series, consistent with the original series, she often ribs on her son, Oscar. She tends to like her other son, Bobby, who often talks like 1970s funk bands, better than Oscar, to his great annoyance.
Diversity and Latine culture
In my original recommendation of the series, one of the show's creators, Ralph Farquhar, argued that The Proud Family: Louder and Prouder will portray more than a singular "view of Blackness or a Black family". This is also true when it comes to Latine culture. The show prominently features LaCienega Boulevardez (voiced by Alisa Reyes), her parents Sunset (voiced by Maria Canals-Barrera) and Felix (voiced by Carlos Mencia), and others in her family.
LaCienega is the Latine frenemy of Penny, with both often disliking one another, but still have respect for one another. Although LaCienega's exact ethnicity is not yet known, the series deserves praise for focusing and featuring Afro-Latine characters. This is strongest in the ninth episode of the series.
In that episode, LaCienega, known as LaCi for short, prepares for her quinceañera, a celebration of her 15th birthday, marking the celebration from girlhood to adulthood. She is terrified by her cousin, LaBrea Avanúñez (voiced by Princess Nokia) attending, along with her aunt, Melrose (voiced Eva Longoria), who has a habit of putting people down, including her own daughter!
Sunset's jealousy of Melrose, leads her to spend a huge sum on quinceañera, terrifying Felix. Not surprisingly, Oscar does not understand why so much money is being spent. LaCi ends up lashing out at her friends and LaBrea seems like the troublemaker behind it all.
The fancy outfits, photos together, and glitz fade into nothingness, due to a plan by LaBrea to "get rid" of LaCi, by tying her to a rocket, so she can live with Sunset. When confronted with LaCi hanging from a dangerous ride, not far from death or serious injury, she gives LaCi advice that saves her life. She then covers for LaBrea, instead of admitting that she is is the cause of the situation.
On the surface it might appear that LaBrea is let off the hook for trying to "disappear" LaCi, and for the years of bullying her. It could even be argued that LaCi's gesture is unrealistic and problematic. However, there is another side to her actions.
Sunset, LaCi, LaBrea, and Melrose on stage at the end of the episode.
While it is not known whether LaCi fully forgives LaBrea, she comes out of her shell more. Both have a quinceañera together. Melrose apologizes to Sunset for being angry for all those years, saying that her divorce stressed her out. It is also revealed that LaBrea is plus-sized, a fact that her mom forced her to keep hidden. The episode ends with Felix worried about all the money they spent for it. Even so, he is glad as long as LaCi is happy, even though they spent her college fund on the party, and Sunset gives him a kiss.
In this way, the series shares similarities with Elena of Avalor, a series headlined by a Latine princess, Elena (voiced by Aimee Carrero). The latter series even has an episode where Elena's "good friend", Naomi Turner, has a quinceañera.
Hopefully these themes are expanded in the the next season of The Proud Family: Louder and Prouder, with a continued focus on Latine and Black families. In any case, as some have argued, having one show or movie about people of color doesn't mean "equal representation."
Family roots and genealogy
Genealogy was once a pursuit for well-off White people. This changed after the airing of Alex Haley's Roots in the 1970s, the beginning of Henry Louis Gates' Finding Your Roots in 2012, and the proliferation of various groups focused on the subject. It has lead to an even greater focus by the Black community than ever before.
The season one finale of The Proud Family: Louder and Prouder reflects this focus. In the episode, Trudy finds out that her family, the Parkers, can trace their roots to across the country, and North Africa. She pays over $1,000 dollars on a a DNA testing website, reflecting the focus on DNA by Black people, and discovers that Suga Mama has roots in Towne, Oklahoma.
Trudy convinces her family to travel to Oklahoma. Suga Mama comes along, but not willingly, tied to the roof of the car. Later, Trudy pressures her family embers to attend the family reunion at the Towne family ranch. While there, they meet Suga Mama's family, whose birth name is revealed to be Charlette. The audience learns that her father told her to never come back and that she left for one major reason: to escape her toxic and sexist father, who hurt her psychologically and possibly physically.
Suga Mama is given new backstory. The audience also learns that Suga Mama's dad declared that no girls were allowed in the rodeo, even though she could easily participate. It further shows him demanding that she cook him dinner and forcing her brother to participate in her place. As the episode comes to a close, it appears that Suga Mama and her dog, Puff (visual effects by Carlos Alazraqui) depart the ranch, leaving behind the rest of the Proud family.
One reviewer for Loud and Clear Reviews described the episode as a "total blast" to review and watch. They noted that it introduces "cool new characters," expands Suga Mama as a character, and centers on the conflict between Suga Mama and her father. The episode is significant since it brings the characters outside of Smithville, a town in California where most of the show takes place. It remains to be seen how future episodes will continue the story from the season one finale.
This focus on family history is not unique to this series. Amphibia, Carmen Sandiego, Mira Royal Detective, Infinity Train, Futurama, and Steven Universe have storylines focusing on family roots, connections, or history.
LGBTQ representation
As I wrote in February, The Proud Family: Louder and Prouder has the "promise of breaking down barriers through its inclusion of multicultural characters and families, especially those which are part of the LGBTQ, Latine, and Black communities." There are established LGBTQ supporting characters. This includes Barry and Randall Leibowitz-Jenkins (voiced by Zachary Quinto and Billy Porter), an interracial gay couple who lives in Smithville, fathers of Maya and Francis "KG" (voiced by Artist "A Boogie" Dubose). Even more prominent is Michael Collins (voiced by EJ Johnson), a gay and gender-nonconforming friend of Penny.
Michael is into dance, clothing, and his hair looks like pastel paint strokes. It gives him a certain style unique from his look in the original series. He even dances, in one episode in front of stage with ribbon wand. This is like the one that Mega Pearl, i.e. Royal Pearl or Rose Pearl as some fans called her, used in Steven Universe Future or Maron Kusakabe in Phantom Thief Jeanne.
There are additional LGBTQ guest stars. This includes Lizzo, who sees herself as part of the LGBTQ community. She has a starring role in the show's fifth episode, telling a crowd that people they need to love themselves. Princess Nokia, also known as Destiny Nicole Frasqueri, voiced LaBrea. She is bisexual, gender non-conforming, of Puerto Rican descent, and speaks about self-love.
Maya meets LaBrea and happily shakes her hand, while LaCi looks on, annoyed.
It is not known if any of the main cast have storylines which explore any possible LGBTQ identities. But, Maya hinted at the possibility in one episode, describing LaBrea as beautiful, even though she hadn't met her before.
Even though LaBrea is likely a one-time guest star, Maya's comment might hint at a possible romantic or sexual attraction. After all, Maya's voice actress said in 2017 that a person's sexuality can be fluid. She also rejected putting herself in a box and confining herself to one identity, saying that people change and grow over time.
Other guest stars showcase The Proud Family: Louder and Prouder's diverse stories. Jeremy O' Harris, who voiced a college-age Michael, is Black and gay, while Lena Waithe, who voiced a college-age Maya, is a Black lesbian.
Other pertinent themes
The series often focuses on the dangers of bad business practices, with Oscar often as a foil. He runs an unsafe amusement park, Snackland, even resulting in a terrible accident. Although the news coverage is negative, people flock to Snackland even though they know they will get hurt and it is dangerous. This contrasts with when Penny as a temporarily successful businessperson. There's also multimillionaire Wizard Kelly (voiced by Aires Spears) making his money as a professional basketball player.
One episode even provides a commentary-of-sorts on reality shows. The audience learns that Oscar once pitched the reality show, Crab Barrel, about Proud Snacks. Thanks to his weird snacks, his presentation goes horribly wrong, leading them to deny him funding. As a result, he calls the show a scam and won't believe in it. In the episode, the other competitor is taken out of the running and judges are won over. They begrudgingly fund Penny's ride-sharing app "by default."
Unlike the original series, science and technology have a big showing. KG is the techy of the series, akin to Wade in Kim Possible, Darryl in The Ghost and Molly McGee, or Player in Carmen Sandiego. KG makes the ride-sharing app for Penny. In another episode, he is able to track Penny's phone when she loses it in one episode. He also tries to save LaCi by using his drone.
It is still in contention how much the show bucks the colorism in the original series. Dijonay and the Gross Sisters, described by some as colorist stereotypes, are little changed in the reboot. Dijonay, who has a big family, is seen taking leftovers for her 10 brothers and sisters in one episode. In another, she leaks photos of Ms. Hill, the homeless teacher. She is rewarded part of a so-called "Snitches to Riches" program, wiping away her lunchroom debt. On a positive note, Pratt, who voices Penny, has said that she is attuned to the issue of colorism.
There have not been, and likely will not be, Asian stereotypes akin to those in the original series, like the Chang Triplets. Instead, Penny continues to have a "gang of girlfriends with a variety of looks and personalities". Those people would be her friends, rather than anyone she would be romantically involved with, since she has a boyfriend in this revival series.
Where the revival falls down
There are many aspects to praise about The Proud Family: Louder and Prouder. You could say that certain scenes, like Penny using a night crawler suit with different modes, like a stealth mode, hearken back to Kim Possible. You could point out that Penny's singing voice sounds like Candace's deep voice in Phineas and Ferb or highlight the talented guest stars.
However, the show's seventh episode showcases a missed opportunity. The show could have made the main characters college-age, working out problems at a local university, as they adapt to being adults in a coming-of-age story with the same tenor as this series. The series could be even strong. However, the creators, staff, or Disney could have scoffed at the idea, wanting to have the characters be the same age they were in the original show.
The series also raises the question: Are Penny's friends actually her friends? Time and time again, her friends abandon her. Are they her actual friends or they leeches? That is a matter of opinion. Sometimes they work together well, like when they sing on stage as a group LMPDZ (LaCi, Maya, Penny, Dijonay, and Zoey) in the show's fifth episode. At other times they don't try to stand by Penny, throwing her away like a used dishrag.
Some fans on Reddit, Twitter, and elsewhere, have have asked why Penny is still friends with them. They have proposed that she should be a villain along with other ideas to make the series better, allowing her to be an even stronger feminist.
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Despite the show's positives, it hasn't gotten its groove yet. At times, it appears to be too hip. It doesn't have the original's magnetism, with episodes focused on topics such as graffiti, Kwanzaa, spoken word poetry, karate, advertising, genetic experiments, Islam, wild animals, vacations, and elder abuse.
Unfortunately, this revival series negates 2005 film, The Proud Family Movie, as Penny is 14 years old, whereas in the film she has turned 16 years old and is exploring her life as a young adult. This series sadly implies that the whole wild film, which contains a cool battle dance scene and a Totally Spies-esque plot with human experimentation and cloning, is not canon.
Looking forward to Season 2
The season one finale ended on a cliffhanger. Since Season 2 is currently in production, the beginning of the season will continue the story from the finale. Most were excited about the news but others said it would be the second part of season 1 and that they weren't fooling anyone. They asked when Disney would have "original animation" like The Dragon Prince, Arcane, or Tales of Arcadia. While the latter is a valid criticism, due to Disney's focus on reboots/revivals than other original content, it is not pertinent to discuss in length in this theme-centric post.
The second season of The Proud Family: Louder and Prouder will need to answer many questions raised by the finale. The ranch where the Proud family is staying is a strange place, akin to Camp Wannaweep in Kim Possible, a source of Ron Stoppable's trauma.
Penny encounters a huge man-fish and learns that Suga Mama's father has blocked cell service. Trudy may suffer consequences for dragging everyone to the ranch, resulting in fissures in the Proud family. Kareem, Penny's boyfriend, might even save them from the ranch. The whole finale gives off vibes which remind me of Jordan Peele's Get Out.
There is a possibility that Sticky (voiced by Orlando Brown) who left in the show's first episode, may come back in the future. My hope is that he does not return. If he became a major character again, it would up the character dynamics and cause a disruption. The new characters added in the revival are better than Sticky and build out the story more than he ever did.
The second season could also expand on Penny's possible vegetarianism. In the season one finale she mentioned that she wanted a veggie pizza but her father rejected it. He declared it had to be a meat pizza and she did not object.
If the second season expands on Penny's comment, it should be a bigger part of the plot than Steven Universe's off-hand comment that he is vegetarian in an episode of Steven Universe Future. At the time, Steven's comment led to division among the fanbase on whether the fans should embrace it or denounce it. Penny is a woman with strong principles who could make the leap, but is the show's staff willing to make it canon?
Due to the integral role of meat in Black culture, the show staff may fear that changing Penny in this way would lead to anger and challenge the beloved status of the original series and this revival. Even the writers structure an episode on her vegetarianism like other episodes, it could lead to hostility from some Black people.
Furthermore, if Penny becomes a vegetarian in the show's second season, it could blow the doors wide open for such type of representation. Such a category includes few Black people other than M'Baku in Black Panther. And they are mostly supporting characters rather than protagonists.
Closing words
Hopefully, the series improves in the second season. Characters from other Disney series, like The Owl House, The Ghost and Molly McGee or Amphibia, could appear. The Proud Family: Louder and Prouder does work to expand diverse animated stories of Black people, also showcased in the currently airing Karma's World, and older series such as Static Shock, The Boondocks, and Afro Samurai.
The success of this series will likely inform future projects by Farquhar and Smith. In December 2020, both signed a "wide-ranging, multiyear overall deal" to produce various series for Disney. It may do the same for Latoya Raveneau, a series director. She entered a deal in April of this year to "develop and produce animated projects" with Disney.
In the end, while I have my criticisms of the series, I look forward to seeing where it goes in the show's second season, and beyond. This series has the potential to run for three seasons and have an animated film, similar to the original series.
The Proud Family: Louder and Prouder can be watched on Disney+, as can the original series, The Proud Family.
© 2022-2023 Burkely Hermann. All rights reserved.
#the proud family#black characters#bruce w. smith#colorism#the proud family louder and prouder#homelessness#unhoused#student debt#al roker#college#latine#disney plus#gender nonconforming#keke palmer#princess nokia#lgbtq#Youtube#vegetarianism#feminism
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On the Road w/Mickey 209 - Best Snacks that AREN’T on the Disney Dining Plan!
Episode 209 of "On the Road with Mickey" explores favorite snacks not included in the Disney Dining Plan. The hosts discuss new DisneySea Fantasy Springs, early 2025 Disney booking updates, and connect via social channels.
Episode 209 – Best Snacks that AREN’T on the Disney Dining Plan!
Best Snacks that AREN’T on the Disney Dining Plan!
Hey everyone, I’m Mike, she’s Sophie, that’s Brenda, and he’s Grogu, and we’re On the Road with Mickey! This is episode 209 and this week we’re looking at “Best Snacks that AREN’T on the Disney Dining Plan!” We came up with this list because of our discussion a few weeks back…
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#Best Snacks that AREN’T on the Disney Dining Plan!#Disney Dining#on the road with mickey#podcast#This Day in Disney History#Walt Disney#Walt Disney Quote#YouTube
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Third Thursday events and exhibitions for October 20
The next Third Thursday — the monthly evening of art in Athens, Georgia — is scheduled for Thursday, October 20, from 6 to 9 p.m. All exhibitions are free and open to the public. This schedule and location and hours of operation for each venue are available at 3thurs.org.
Georgia Museum of Art, University of Georgia
Yoga in the Galleries, 6 p.m. — Join us for a free yoga class surrounded by works of art in the galleries. Led by instructors from Five Points Yoga, this program is free and open to both beginner and experienced yogis. Sanitized mats are provided. This program is available both in-person (spots are available on a first-come, first-served basis; tickets are available at the front desk starting at 5:15 p.m.) and via Zoom (register at https://zoom.us/meeting/register/tJIkfuyoqTgqHNOxQMTrJeVRUJQ3Xi_u3psx).
On view:
“Reckonings and Reconstructions: Southern Photography from the Do Good Fund” —
This exhibition is the first large-scale survey of the Do Good Fund’s remarkable and sweeping collection of photography made in the South from the 1950s to the present.
“Infinity on the Horizon” — This exhibition highlights modern and contemporary objects in the Georgia Museum of Art’s permanent collection by prominent and lesser-known artists that can be characterized as abstract landscapes.
“Allison Janae Hamilton: Between Life and Landscape” — Allison Janae Hamilton’s works often include spectral figures to convey the role of nature in Black experience as beautiful and fragile, hopeful and haunted.
“In Dialogue: Henry Ossawa Tanner, Mentor and Muse” — This focused exhibition highlights Black artist Henry Ossawa Tanner’s impact on several younger artists: Palmer C. Hayden, William H. Johnson, William Edouard Scott and Hale Woodruff.
“Jane Manus, Undaunted” — Five large-scale sculptures by the Florida-based geometric sculptor.
“Kristin Leachman: Longleaf Lines” — Paintings by artist Kristin Leachman of an old-growth longleaf pine forest in southwest Georgia as part of her “Fifty Forests” project.
“Decade of Tradition: Highlights from the Larry D. and Brenda A. Thompson Collection” — Selections from Larry and Brenda Thompson’s gift of works by African American artists.
“Power and Piety in 17th-Century Spanish Art” — Works by premiere Spanish baroque painters such as Francisco de Zurbarán, Bartolomé Murillo, Pedro Orrente and others, on loan from Bob Jones University Museum & Gallery.
The museum’s days of operation are Tuesday – Sunday. Reserve a free ticket and see our policies at https://georgiamuseum.org/visit/.
ATHICA: Athens Institute for Contemporary Art
ATHICA@675 Pulaski St., Suite 1200
“MOOD: 2022 Juried Exhibition” — Features the work of 37 contemporary artists from across the United States and Canada. Their work in all media explores or references MOOD, a term that has taken on a unique connotation on social media through its use thousands of times a day by individuals to express their temporal emotions with imagery, memes and an ever-changing collage of the media culture that surrounds us. #Mood is happy, sad, reflective, angstful, urgent, chill, colorful, somber, hungry, sleepy, angry, hopeful and more. The work on display was juried by Liz Andrews, executive director of the Spelman College Museum of Fine Art.
ATHICA@CINÉ Gallery
“In Search of Mutisia” — Works by Nancy Barbosa.
Lyndon House Arts Center
“RE-, the Clarke County School District Student Art Exhibition” — Includes works by students from Kindergarten to 12th grade and media such as weaving, sculpture, photography, painting, drawing and collage. Also included are large collaborative works of art by classrooms and grades.
The Athenaeum
“Smooooooooooooooth Operator” — Brooklyn-based artist Kameelah Janan Rasheed presents a new exhibition that examines the poetics and power of machine learning. She questions computation, the role of the reader and ritual in “Smooooooooooooooth Operator,” which considers the menace of smoothness. We know what a smooth thing is; we’ve run our hand over a surface without noticeable projections or interruptions. Smoothing as a practice shows up in music via quantization and again in image processing via filters. Both are procedures of standardization and forced patterning by disregarding dirty data (or noise) in the service of fulfilling the audience’s expectations. Smooth viewing is easy viewing because the brain doesn’t have to second guess what it is looking at. Smooth images, smooth text make smooth, speed readers.
tiny ATH gallery
Pen and ink exhibition by Valley StipeMaas. John Kiran Fernandes performing experimental clarinet.
Safety precautions in place for tiny ATH gallery:
Face masks are optional in the gallery if fully vaccinated
Please consider parking up Pulaski/Cleveland to alleviate parking issues if lot is full
If you feel unwell, or have been in touch with anyone who has been sick, please stay home
Hotel Indigo, Athens
ArtWall@Hotel Indigo: Photography by Lucy Reback and Megan Reilly — These New York-based photographers have been living and working in Athens for the past two years. The artists, who are also a couple, have never exhibited collaboratively. These works span five years; some were taken before the couple met, and others are intimate vignettes of their relationship. The fragmented assemblage of their combined work reinterprets these memories, bending time to include the other in their past and articulate the present connection.
Glass Cube: “Aurora,” an installation by multimedia artist Zane Cochran featuring changing light and geometric lanterns based on occurrences of the Northern Lights. Open 24/7.
The Classic Center
Classic Gallery I: “Spotlight: Paintings by Amy Watts” — Cowgirls, farmers, miners, Indigenous peoples and angels comingle on big, bold, colorful canvases that bring to mind stained-glass windows and WPA murals.
Classic Gallery II: “Light Bright” — This exhibition is inspired by the childhood toy. Remember piercing through with little, colorful, plastic pegs to create glowing compositions. Artists Caitlin Gal, Allison McPheeters and Alivia Patton all utilize the simple circle to create inspiring works. Gal’s paintings joyfully point to plant life and biology using a bright color palette and Matisse-inspired shapes. McPheeters uses drawing as a means to relax, and her intricate repeated mark reads as a sort of meditation. Patton shows the transformation of form in her works that resemble a target or a planet or an eyeball.
—
Third Thursday was established in 2012 to encourage attendance at Athens’ established art venues through coordination and co-promotion by the organizing entities. This schedule and venue locations and regular hours can be found at 3thurs.org.
Contact: Michael Lachowski, Georgia Museum of Art, [email protected].
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#my job benefits includes 3 free therapy sessions w better help and on one hand i know tumblr n twitter are kinda against bh idk why i’ll#google it later but i’m actually pretty grateful bc i’ve never had a job before that offers these types of benefits not to mention the#hourly rate is high especially for the area. places in el paso texas will have you performing open heart surgery for $8/hr. anyway#i wouldn’t continue the membership bc i was reading it yesterday and it’s $45/weekly which is um. insane! but i’ll take 3 free sessions any#day not to mention i really need it now more than ever so these couldn’t have come at a better time to say the least !#anyway when i was doing the intake over the phone the lady was getting all my info and in the middle she goes#‘i can tell you’re southern bc you say ma’am at the end of your sentences’ HELLOO!!!???????!!!?!!#and i was like ‘oh i thought that was common’ and she goes ‘no not in philly’ LMFAO please! this is almost as bad as getting recognized for#having in tumblr by a stranger. i thought being chicana/living as close to the mexican fucking border that i’m practically riding it/being#raised surrounded by mexicans my whole life would save me from the southern antics but i’ve been drinking the koolaid and didn’t even#realize it ! i almost clutched my chest afterward it was so shocking and excuse me but i’m still convinced that’s a common thing to do at#least in the united states. if you don’t live in the south (god_i_wish_that_were_me.pdf) and use ma’am and sir often-ish then drop some#hearts in the comments. if you don’t live in the south and also don’t say ma’am and sir drop some desserts or farm animals… maybe i’ll#prove brenda from philly wrong tonight. also noah’s fence but she’s from the east coast and that says enough if we’re being honest#if i have any moots from philadelphia or the east coast i adore you and this has all been a harvard social experiment ❤️🩹
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-- i feel like i make a post like this every other week & i'm sorry for subjecting y'all to it again LMAO . but this is the last time i'll mention it . any fixation i had on genshin is completely gone & my brain is on other things 95% of the time . maybe once inazuma comes out & kazuha & all of that i'll be more excited ? ;u; but for now i have no motivation to play .
THAT BEING SAID i still want to write genshin & i don't plan on abandoning any of my blogs at all ! i've been in a really really bad depressive hole lately & i've been clinging aggressively onto anything that gives my brain even the slightest serotonin shdkchs we all been knew but for my newer followers , i will be pretty slow with responses to stuff as of right now ! if you wanna unfollow feel free , no hard feelings
you all have been lovely & patient & caring & i cannot thank you all enough for being so good to me . i am extremely bad at socializing / talking & social cues , but ... if you ever wanna chat abt anything at all or plot or even do small rps on dis.cord you can add me at emmy # 6513 ;u;
#holy lyre de himmel ( ooc . )#mobile .#tbd .#( *farts with reverb* )#( i am as the kids say pure of heart yet dumb of ass )#( i make an apology post every other week . but this is the last one i swear LMFAO )#( i've seen ppl make posts like 'if you don't interact at all w me you don't wanna rp w me' & i'm like )#( no brenda please i have social anxiety & depression just bc i don't like ur tiddy headcanon post doesn't mean i don't wanna rp )#( that's not directed @ anyone here SHXKXJS )#( did anyone else watch ffxiv key note ? my pants are shitted with excitement )
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RASHIDA RENEÉ WANTS YOU TO KNOW YOUR HISTORY by Alexis Rene Moten (Culture Jock)
Let’s start this article with a quiz: Name a Black model from the 1990’s that isn’t Naomi Campbell or Tyra Banks?
Stumped? It’s safe to say that if the question were asked to name a White model that wasn’t Kate Moss or Cyndi Crawford, best case scenario you would’ve excelled with a list to provide. Maybe something like: Linda Evangelista, Claudia Schiffer, Christy Turlington, Shalom Harlow, Carla Bruni, Heidi Klum..you get my point.
At times, Pop Culture can be a fair-weather friend. Monday’s It-girl becomes Friday’s nobody and by Sunday there’s a new hot thing in town to get all the girls in a fuss. But as nostalgia-trends rises as capitalism’s newest enterprise, endorsed largely by social media app, Instagram, history is being retold by the agenda of it’s curator. The selective hearing of Instagram accounts like @90scelebvibes (391K followers) and @90sanxiety (793K followers) present a facade that the past was rather beige, leaving largely out the credit due to the Black and people of color creatives that developed and inspired the trends imitated today.
Bay area based, Fashion archivist Rashida Reneé, takes on self-love to a familial level celebrating her love and the appreciation of Black designers, models and other fashion industry influencers that otherwise go forgotten in our modern culture. In fashion, as in anything else, things old become anew. However, Reneé takes on the responsibility as a trend gatekeeper, providing evidence of what fashion used to be and recognizing the faces we longed forgotten.
Q: Name a Black model from the 1990’s that isn’t Naomi Campbell or Tyra Banks?
A: Beverly Peele, Gail O’Neill, Iman, Kara, Young, Karen Alexander, Louise Vyent, Roshumba, Veronica Webb, etc.
Culture Jock: What is a typical day for the most hated hoe in the city?
RR: (laughs) It’s weird, I kind of like to keep it to myself. Keep track of what I like and my thoughts. I don’t know. I'm very low-key person in real life, but when I do leave the house (pauses) I do, I promise! I just like my personal time, but when it’s time to be out I am present, as much as possible. I do what I do becauseII like giving information to people and give them links and information just so they know.
CJ: What brought you into fashion archiving?
RR: My whole archiving process was originally for myself and filling in spots of information where there it was empty of black people. Of course, there is street fashion, but in terms of online fashion, sites like Manrepeller, you didn’t see a lot of black girls doing it and the people doing it I thought were lame. Finding other black people who weren’t anti-black in those kind of spaces. I felt a lot of people were trying to make us to assimilate. Everyone was kind of like doing the same things and it was like, ‘Naomi Campbell!’ But if it were any other dark girl it didn’t matter. So, I started my own blog and then I had to stop myself from posting Naomi Campbell’s photos too. I would do one picture of Naomi Campbell a day and try to really give props to other black woman involved and black people in general. When I was younger I was familiar with the other models not just Naomi Campbell, my mom was really in it with Naomi. She worked in a beauty salon, which had magazines of all the models. Like, black hair magazines, they always listed the models so, no matter what you knew who they were. Whoever it was in the 90s, ‘this is who that is and this who that is.’ You’d see the oldest Destiny Child’s video shoots in black hair magazines. I just haven’t seen other people doing that. There are other girls now that focus more on Hip Hop in 90s and 2000s. Livejournal, fashion spot, Tumblr, people didn’t go out of their way to scan the black models or even try to name them. It’s funny, people online, they don’t even try to hide their biases. No one was really fashion blogging the way I like or how I see .
CJ:In your piece for Office Magazine you mention, from Patrick Kelley to today’s influence of Dapper Dan, American culture from its roots drips of Black influence and culture. Why do you think Black culture is so immutable and where do you see the ownership of our creations.
RR: People I mean know, it’s just like, it’s weird and odd to even talk about. Not just people referencing me or copying, I feel like I am being gaslit all the time or being told that. People love stealing from black people. People love stealing from black people. People love stealing from black people and lying about it. People hate black people but they think we are cool. I can’t even (pauses)yeah it’s very weird. The twitter thing is weird (sighs).
CJ: It is weird.
RR: (sighs) It’s not really helping them. It’s boring to live with no personality. To see someone interesting and steal from them to bolster themselves. [On social media] we have the means to share with each other, like, moments that are of shared experiences of oppression and that is even imitated. I don’t know why the copy of things are okay. It is such a multi-layered thing. Or the way the Stans talk like mainly the Black queer and Black trans talk and how all of that is now being used by everyone. Ariana Grande, ya know, icons talk like girls on the ballrooms did back in 2006. Parodying things. It helps them develop their own brand, I don’t understand their fascination with us anyway. I’m into my own shit and own culture. I like the way black people express themselves and other people use us and what we do to talk to each other or communicate and then take that to feel cool. I’ve always been,like, ‘why would someone want to be like this?’ or pretend. I don’t get it. People run out of content. I know people used to make fun of me and the things I used to be and ironically they are into it now. People need to find their own hobbies. They are bored.
CJ: The internet is complex. It’s a parody of itself.
RR: Knowing your history is important. You need to know where you came from to know where you are going. When it comes to fashion archives the question is, ‘what is it that you are looking for or trying to highlight?’ My concern is that fashion archiving is feeding into nostalgic trends, where it’s easier to mimic what was done before rather then create new moments. Do you share the same sentiments?
CJ: What is it about fashion that excites you?
RR: It’s so fun and so funny. The dolls are taking over. That’s how most things go, the things that happened come back with a hyper focus. It really is going full out now. It’s interesting to see how people are dressing now. [Fashion] is always reflective of the political climate. Think about the 80s everyone is dressing like a dickhead. Then when people got sick of dressing like a dickhead, minimalism comes in. We cycle through trends so fast, today. I remember a girl wearing a hair clips and no one was into it. Then the next week everyone was wearing them, then I see Cyndi Lauper in an interview wearing hair clips. She’s like 50-something and she’s wearing hair clips made out of Swarovski crystals. It’s so interesting. It’s funny how it happens. Now everyone is into fashion.
CJ: Who are your biggest fashion influences ?
RR: My biggest influences are Naomi Campbell and my mom. Girls I follow on the internet. My mom is from San Francisco lives her own life and is very eclectic. I get a lot from her and different taste. Foxy Brown is also very inspiring, I reference her a lot I think about her and Steven Miesel. Steven knows how to do everything. Steven can do everything. Everyone knows I am a crazy Beyoncé fan. But, I have different girls for different moods. My main inspo is Naomi and Foxy Brown. I really gravitated to Foxy because she was more into Prada and Chloe when Stella McCartney was there. Because of Foxy I love Chloe. She was very cool. Naomi is, you just aspire to that level of greatness. There is no one else. Even in her flaws she handles them so well. I can’t imagine someone else with that kind of rap sheet to not get fully canceled. I judge people by how they react to criticism. She handles it really well. I find that really inspiring.
CJ: What film or television do you think has the best fashion catalog? If you could what character's closet would you love to raid?
RR: I am so frazzled. There’s so much stuff I like. I write things down specifically, because I can never remember. I watched The Nanny last year with Fran Drescher, when I was really depressed and was like, ‘Wow this is inspiring.’ Brenda Cooper, her mind. Everyone had a look in. Pose, is another one. Everything has intentions from the main characters to the background characters. I really like the first season of costume design. It’s commitment to that era. Someone is always dressed like, Karen White or Jodi Whitley. Elektra is very dynasty, that high lady energy. I love that about the show. I love Glow, the costume designer, Beth Morgan. I love when people do era shows, specifically the 80s and they don’t try to soften it, especially in makeup or hair. They aren’t scared to embrace the ugliness, I love that. That’s what good costume design is about. High fashion is easy, but what really gets me is watching old movies and looking at the clothes.
CJ: We are moving into a new decade of 2020. I have a feeling it may be the year of 2020 vision and final clarity. What are your aspirations for this new era and what do you hope to see from the world?
RR: I feel like the children are our future. That’s what I’m looking at, to see what the kids are into. People are more focused into what they look like and I remember if someone dressed a little bit out of fashion it was a huge deal and get talked about. But now they are embracing their weirdness and experimenting. Do you watch that Tik Tok stuff? I just want a regular life. Happy, healthy, all my kids are happy and healthy. When I move to [Los Angeles] and get hotter, hotter and I want to become, what is that called, a wellness person? I want a Goop moment, but with Solange aesthetics. Maybe make a propaganda film to get people to stop wearing wigs.
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Saturnalia tupiniquim
By Ripley Cook
Etymology: Named for the Roman festival of Saturn
First Described By: Langer et al., 1999
Classification: Dinosauromorpha, Dinosauriformes, Dracohors, Dinosauria, Saurischia, Eusaurischia, Sauropodomorpha, Saturnaliidae
Status: Extinct
Time and Place: 233.23 million years ago, in the Carnian of the Late Triassic
Saturnalia is known from the Alemoa Member of the Santa Maria Formation - it is also possibly known from Zimbabwe, but this assignment is dubious
Physical Description: Saturnalia was probably a very early Prosauropod - aka, those dinosaurs that were more closely related to the large and famous Sauropods than any other kind of dinosaur (the official name for these dinosaurs being Sauropodomorphs). As an early Prosauropod, then, Saturnalia didn’t look very much different from other early dinosaurs - it was small, fluffy, squat, and bipedal. It was so much like other dinosaurs that it is often classified outside of Sauropodomorpha proper - and that continues to be a source of debate for these dinosaurs. In fact, according to some, it’s an early theropod!! More work is clearly needed, but regardless, Saturnalia was about 1.5 meters long and no more than a meter tall. It had a somewhat long neck - but no longer than other early dinosaurs, certainly not proper sauropodomorph length - and a small head. It had short arms, somewhat short legs, and a short tail as well. It was very slight, and had a skull like that of prosauropods, though its legs were more like those of theropods. Overall - a very average looking early dinosaur, and certainly very similar to the early Sauropodomorphs and the early Theropods of the time.
Diet: Saturnalia probably was an omnivore, feeding on both meat and plant food, at low levels of vegetation and mainly focusing on very small animals. Though it is also possible that it was a carnivore.
By Rex Chen
Behavior: Saturnalia, regardless of its affinity, would have been a very skittish animal - avoiding predators in its environment at all costs, and running about on its tip-toes in order to avoid danger. It was probably at least somewhat social, given multiple skeletons have been found of it, though of course we cannot be certain of such. Regardless, it would have spent a large portion of its day foraging on food, looking around for leaves to strip from branches and small animals to catch in its mouth. It would have probably taken care of its young, and may have formed family groups to do so. The long-ish neck of Saturnalia would have allowed it to reach deeper into the plantlife in order to grab food out of reach.
Ecosystem: The Santa Maria Formation is a hotspot of early dinosaur diversity, showcasing especially the initial explosion of Sauropodomorphs after dinosaurs first appeared. This was an extensive floodplain environment, filled with seed ferns and conifers, giving Saturnalia good amounts of cover to protect it from other creatures. This was important, because Saturnalia was far from alone in its home. Here, there were predatory dinosaurs, such as the Herrerasaurid Staurikosaurus and the prosauropod Buriolestes; mystery dinosaurs like Nhandumirim; other early prosauropods like Pampadromaeus and Bagualosaurus; the Lagerpetid Ixalerpeton; the weird Aphanosaur Spondylosoma; large Loricatan predators like Rauisuchus, Procerosuchus, Prestosuchus, Decuriasuchus, and Dagasuchus; large herbivorous Aetosaurs such as Aetobarbakinoides, Aetosauroides, and Polesinesuchus; rhynchosaurs like Hyperodapedon and Brasinorhynchus; mystery reptiles like Barberenasuchus; Proterochampsids like Cerritosaurus, Chanaresuchus, Proterochampsa, and Rhadinosuchus; Erpetosuchids like Pagosvnator; and plenty of synapsids such s Chiniquodon, Candelariodon, Exaeretodon, Protuberum, Santacruzodon, and Trucidocynodon. In short - an extremely diverse and flourishing environment, showcasing the true weirdness that was the Triassic period.
By Nobu Tamura, CC BY-SA 4.0
Other: Was Saturnalia a theropod or a prosauropod? The jury is still out. Its back half looks much like that of a theropod, but its head? Similar to prosauropods. The most recent analysis has it as a sauropodomorph - probably - but people still debate, and arguments continue to go on. It is often considered a part of a bigger group of dinosaurs including animals like Guaibasaurus, but some of these animals in recent studies have been found as prosauropods, and some as theropods, breaking up the group. So, the scientists continue to debate, and the exact nature of Saturnalia remains a mystery - but, for now, we can probably still call it a Sauropodomorph, along with Pampadromaeus.
~ By Meig Dickson
Sources Under the Cut
Abdala, F., & A. M. Ribeiro (2003). "A new traversodontid cynodont from the Santa Maria Formation (Ladinian-Carnian) of southern Brazil, with a phylogenetic analysis of Gondwanan traversodontids". Zoological Journal of the Linnean Society. 139 (4): 529–545.
Apaldetti, C., R. N. Martinez, O. A. Alcober and D. Pol. 2011. A new basal sauropodomorph (Dinosauria: Saurischia) from Quebrada del Barro Formation (Marayes-El Carrizal Basin), Northwestern Argentina. PLoS ONE 6(11):e26964:1-19
Aurélio, M., G. França; Jorge Ferigolo; Max C. Langer (2011). "Associated skeletons of a new middle Triassic "Rauisuchia" from Brazil". Naturwissenschaften. 98 (5): 389–395.
Barberena, MC (1978). "A huge tecodont skull from the Triassic of Brazil". Pesquisas Em Geociências. 9 (9): 62–75.
Bonaparte, J.F.; Ferigolo, J.; Ribeiro, A.M. (1999). "A new early Late Triassic saurischian dinosaur from Rio Grandedo Sul State, Brazil." Proceedings of the second Gondwanan Dinosaurs symposium". National Science Museum Monographs, Tokyo. 15: 89–109.
Bonaparte, J.F.; Brea, G.; Schultz, C.L.; Martinelli, A.G. (2007). "A new specimen of Guaibasaurus candelariensis (basal Saurischia) from the Late Triassic Caturrita Formation of southern Brazil". Historical Biology. 19 (1): 73–82.
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#Saturnalia tupiniquim#Saturnalia#Prosauropod#Dinosaur#Sauropodomorph#Factfile#Dinosaurs#Triassic#south america#Mesozoic Monday#Omnivore
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2019 Hugo Award finalists announced
The 2019 Hugo Award nominees have been announced; the Hugos will be presented this summer at the 2019 World Science Fiction Convention in Dublin, Ireland.
Normally, I find that I've read and reviewed a huge slice of the year's finalists, but this year is different; I've done a lot less reading lately, partly because I wrote two books in 2018 and partly because the new EU Copyright Directive ate my life for about 10 months in the past year.
I was a little sad to be so far behind the curve when I saw the new list, but then I realized that this meant that I had a bunch of really exciting books to add to my to-be-read pile!
One notable inclusion: the Archive of Our Own fanfic archive -- a project of the Organization for Transformative Works (for whose advisory board I volunteer) -- is up for "Best Related Work."
Congrats to all the nominees!
Best Novel
* The Calculating Stars, by Mary Robinette Kowal (Tor)
* Record of a Spaceborn Few, by Becky Chambers (Hodder & Stoughton / Harper Voyager)
* Revenant Gun, by Yoon Ha Lee (Solaris)
* Space Opera, by Catherynne M. Valente (Saga)
* Spinning Silver, by Naomi Novik (Del Rey / Macmillan)
* Trail of Lightning, by Rebecca Roanhorse (Saga)
Best Novella
* Artificial Condition, by Martha Wells (Tor.com Publishing)
* Beneath the Sugar Sky, by Seanan McGuire (Tor.com Publishing)
* Binti: The Night Masquerade, by Nnedi Okorafor (Tor.com Publishing)
* The Black God’s Drums, by P. Djèlí Clark (Tor.com Publishing)
* Gods, Monsters, and the Lucky Peach, by Kelly Robson (Tor.com Publishing)
* The Tea Master and the Detective, by Aliette de Bodard (Subterranean Press / JABberwocky Literary Agency)
Best Novelette
* “If at First You Don’t Succeed, Try, Try Again,” by Zen Cho (B&N Sci-Fi and Fantasy Blog, 29 November 2018)
* “The Last Banquet of Temporal Confections,” by Tina Connolly (Tor.com, 11 July 2018)
* “Nine Last Days on Planet Earth,” by Daryl Gregory (Tor.com, 19 September 2018)
* The Only Harmless Great Thing, by Brooke Bolander (Tor.com Publishing)
* “The Thing About Ghost Stories,” by Naomi Kritzer (Uncanny Magazine 25, November- December 2018)
* “When We Were Starless,” by Simone Heller (Clarkesworld 145, October 2018)
Best Short Story
* “The Court Magician,” by Sarah Pinsker (Lightspeed, January 2018)
* “The Rose MacGregor Drinking and Admiration Society,” by T. Kingfisher (Uncanny Magazine 25, November-December 2018)
* “The Secret Lives of the Nine Negro Teeth of George Washington,” by P. Djèlí Clark (Fireside Magazine, February 2018)
* “STET,” by Sarah Gailey (Fireside Magazine, October 2018)
* “The Tale of the Three Beautiful Raptor Sisters, and the Prince Who Was Made of Meat,” by Brooke Bolander (Uncanny Magazine 23, July-August 2018)
* “A Witch’s Guide to Escape: A Practical Compendium of Portal Fantasies,” by Alix E. Harrow (Apex Magazine, February 2018)
Best Series
* The Centenal Cycle, by Malka Older (Tor)
* The Laundry Files, by Charles Stross (most recently Tor.com Publishing/Orbit)
* Machineries of Empire, by Yoon Ha Lee (Solaris)
* The October Daye Series, by Seanan McGuire (most recently DAW)
* The Universe of Xuya, by Aliette de Bodard (most recently Subterranean Press)
* Wayfarers, by Becky Chambers (Hodder & Stoughton / Harper Voyager)
Best Related Work
* Archive of Our Own, a project of the Organization for Transformative Works
* Astounding: John W. Campbell, Isaac Asimov, Robert A. Heinlein, L. Ron Hubbard, and the Golden Age of Science Fiction, by Alec Nevala-Lee (Dey Street Books)
* The Hobbit Duology (documentary in three parts), written and edited by Lindsay Ellis and Angelina Meehan (YouTube)
* An Informal History of the Hugos: A Personal Look Back at the Hugo Awards, 1953- 2000, by Jo Walton (Tor)
* www.mexicanxinitiative.com: The Mexicanx Initiative Experience at Worldcon 76 (Julia Rios, Libia Brenda, Pablo Defendini, John Picacio)
* Ursula K. Le Guin: Conversations on Writing, by Ursula K. Le Guin with David Naimon (Tin House Books)
Best Graphic Story
* Abbott, written by Saladin Ahmed, art by Sami Kivelä, colours by Jason Wordie, letters by Jim Campbell (BOOM! Studios)
* Black Panther: Long Live the King, written by Nnedi Okorafor and Aaron Covington, art by André Lima Araújo, Mario Del Pennino and Tana Ford (Marvel)
* Monstress, Volume 3: Haven, written by Marjorie Liu, art by Sana Takeda (Image Comics)
* On a Sunbeam, by Tillie Walden (First Second)
* Paper Girls, Volume 4, written by Brian K. Vaughan, art by Cliff Chiang, colours by Matt Wilson, letters by Jared K. Fletcher (Image Comics)
* Saga, Volume 9, written by Brian K. Vaughan, art by Fiona Staples (Image Comics)
Best Dramatic Presentation, Long Form
* Annihilation, directed and written for the screen by Alex Garland, based on the novel by Jeff VanderMeer (Paramount Pictures / Skydance)
* Avengers: Infinity War, screenplay by Christopher Markus and Stephen McFeely, directed by Anthony Russo and Joe Russo (Marvel Studios)
* Black Panther, written by Ryan Coogler and Joe Robert Cole, directed by Ryan Coogler (Marvel Studios)
* A Quiet Place, screenplay by Scott Beck, John Krasinski and Bryan Woods, directed by John Krasinski (Platinum Dunes / Sunday Night)
* Sorry to Bother You, written and directed by Boots Riley (Annapurna Pictures)
* Spider-Man: Into the Spider-Verse, screenplay by Phil Lord and Rodney Rothman, directed by Bob Persichetti, Peter Ramsey and Rodney Rothman (Sony)
Best Dramatic Presentation, Short Form
* The Expanse: “Abaddon’s Gate,” written by Daniel Abraham, Ty Franck and Naren Shankar, directed by Simon Cellan Jones (Penguin in a Parka / Alcon Entertainment)
* Doctor Who: “Demons of the Punjab,” written by Vinay Patel, directed by Jamie Childs (BBC)
* Dirty Computer, written by Janelle Monáe, directed by Andrew Donoho and Chuck Lightning (Wondaland Arts Society / Bad Boy Records / Atlantic Records)
* The Good Place: “Janet(s),” written by Josh Siegal & Dylan Morgan, directed by Morgan Sackett (NBC)
* The Good Place: “Jeremy Bearimy,” written by Megan Amram, directed by Trent O’Donnell (NBC)
* Doctor Who: “Rosa,” written by Malorie Blackman and Chris Chibnall, directed by Mark Tonderai (BBC)
Best Professional Editor, Short Form
* Neil Clarke
* Gardner Dozois
* Lee Harris
* Julia Rios
* Lynne M. Thomas and Michael Damian Thomas
* E. Catherine Tobler
Best Professional Editor, Long Form
* Sheila E. Gilbert
* Anne Lesley Groell
* Beth Meacham
* Diana Pho
* Gillian Redfearn
* Navah Wolfe
Best Professional Artist
* Galen Dara
* Jaime Jones
* Victo Ngai
* John Picacio
* Yuko Shimizu
* Charles Vess
Best Semiprozine
* Beneath Ceaseless Skies, editor-in-chief and publisher Scott H. Andrews
* Fireside Magazine, edited by Julia Rios, managing editor Elsa Sjunneson-Henry, social coordinator Meg Frank, special features editor Tanya DePass, founding editor Brian White, publisher and art director Pablo Defendini
* FIYAH Magazine of Black Speculative Fiction, executive editors Troy L. Wiggins and DaVaun Sanders, editors L.D. Lewis, Brandon O’Brien, Kaleb Russell, Danny Lore, and Brent Lambert
* Shimmer, publisher Beth Wodzinski, senior editor E. Catherine Tobler
* Strange Horizons, edited by Jane Crowley, Kate Dollarhyde, Vanessa Rose Phin, Vajra Chandrasekera, Romie Stott, Maureen Kincaid Speller, and the Strange Horizons Staff
* Uncanny Magazine, publishers/editors-in-chief Lynne M. Thomas and Michael Damian Thomas, managing editor Michi Trota, podcast producers Erika Ensign and Steven Schapansky, Disabled People Destroy Science Fiction Special Issue editors-in-chief Elsa Sjunneson-Henry and Dominik Parisien
Best Fanzine
* Galactic Journey, founder Gideon Marcus, editor Janice Marcus
* Journey Planet, edited by Team Journey Planet
* Lady Business, editors Ira, Jodie, KJ, Renay & Susan
* nerds of a feather, flock together, editors Joe Sherry, Vance Kotrla and The G
* Quick Sip Reviews, editor Charles Payseur
* Rocket Stack Rank, editors Greg Hullender and Eric Wong
Best Fancast
* Be the Serpent, presented by Alexandra Rowland, Freya Marske and Jennifer Mace
* The Coode Street Podcast, presented by Jonathan Strahan and Gary K. Wolfe
* Fangirl Happy Hour, hosted by Ana Grilo and Renay Williams
* Galactic Suburbia, hosted by Alisa Krasnostein, Alexandra Pierce, and Tansy Rayner Roberts, produced by Andrew Finch
* Our Opinions Are Correct, hosted by Annalee Newitz and Charlie Jane Anders
* The Skiffy and Fanty Show, produced by Jen Zink and Shaun Duke, hosted by the Skiffy and Fanty Crew
Best Fan Writer
* Foz Meadows
* James Davis Nicoll
* Charles Payseur
* Elsa Sjunneson-Henry
* Alasdair Stuart
* Bogi Takács
Best Fan Artist
* Sara Felix
* Grace P. Fong
* Meg Frank
* Ariela Housman
* Likhain (Mia Sereno)
* Spring Schoenhuth
Best Art Book
* The Books of Earthsea: The Complete Illustrated Edition, illustrated by Charles Vess, written by Ursula K. Le Guin (Saga Press /Gollancz)
* Daydreamer’s Journey: The Art of Julie Dillon, by Julie Dillon (self-published)
* Dungeons & Dragons Art & Arcana: A Visual History, by Michael Witwer, Kyle Newman, Jon Peterson, Sam Witwer (Ten Speed Press)
* Spectrum 25: The Best in Contemporary Fantastic Art, ed. John Fleskes (Flesk Publications)
* Spider-Man: Into the Spider-Verse – The Art of the Movie, by Ramin Zahed (Titan Books)
* Tolkien: Maker of Middle-earth, ed. Catherine McIlwaine (Bodleian Library)
John W. Campbell Award for Best New Writer
* Katherine Arden (2nd year of eligibility)
* S.A. Chakraborty (2nd year of eligibility)
* R.F. Kuang (1st year of eligibility)
* Jeannette Ng (2nd year of eligibility)
* Vina Jie-Min Prasad (2nd year of eligibility)
* Rivers Solomon (2nd year of eligibility)
Lodestar Award for Best Young Adult Book
* The Belles, by Dhonielle Clayton (Freeform / Gollancz)
* Children of Blood and Bone, by Tomi Adeyemi (Henry Holt / Macmillan Children’s Books)
* The Cruel Prince, by Holly Black (Little, Brown / Hot Key Books)
* Dread Nation, by Justina Ireland (Balzer + Bray)
* The Invasion, by Peadar O’Guilin (David Fickling Books / Scholastic)
* Tess of the Road, by Rachel Hartman (Random House / Penguin Teen)
https://boingboing.net/2019/04/02/dublin-worldcon.html
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do you have any sources on the claims you made? im always willing to change my stance if you have legitimate backing for it haha
So first, I’m sorry for blowing up at you the way that I did. I’m not proud that I reacted in such a kneejerk, aggressive fashion. Thank you for being open to hearing what I have to say. I’m sorry for mistaking you for a TERF, and I’m sorry my response has caused other people to direct their own hostility towards you.
So, here’s the thing. “You can’t call bi women femmes” is pretty intrinsically a radfem thing to say, and I am deeply opposed to letting radfems tell me what to do. I’m trying to write this during a weekend packed with childcare and work. I’ll try to hit all the high notes.
The one thing I am having trouble finding is the longass post I talked about in my reply, that was a history of butch/femme relationships in lesbian bars, which had frequent biphobic asides and talked about “the lesbophobic myth of the bi-rejecting lesbian”; the friend who reblogged it without reading it thoroughly has deleted it, and I can’t find it on any of the tags she remembers looking at around that time. If anyone can find it, I’ll put up a link.
As far as possible, I’m linking to really widely accessible sources, because you shouldn’t intrinsically trust a random post on Tumblr as secret privileged knowledge. People have talked about this at length in reputable publications that your local library either has, or can get through interlibrary loan; you can look up any of the people here, read their work, and decide for yourself. This is a narrative of perspectives, and while I obviously have a perspective, many people disagree with me. At the end of the day, the only reason I need for calling bi women femmes is that You Are Not The Boss Of Me. There is no centralized authority on LGBT+ word usage, nor do I think there should be. Hopefully this post will give you a better sense of what the arguments are, and how to evaluate peoples’ claims in the future.
I looked up “butch” and “femme” with my library’s subscription to the Oxford English Dictionary because that’s where you find the most evidence of etymology and early use, and found:
“Femme” is the French word for “woman”. It’s been a loanword in English for about 200 years, and in the late 19th century in America it was just a slangy word for “women”, as in, “There were lots of femmes there for the boys to dance with”
“Butch” has been used in American English to mean a tough, masculine man since the late 19th century; in the 1930s and 1940s it came to apply to a short masculine haircut, and shortly thereafter, a woman who wore such a haircut. It’s still used as a nickname for masculine cis guys–my godfather’s name is Martin, but his family calls him Butch. By the 1960s in Britain, “butch” was slang for the penetrating partner of a pair of gay men.
Butch/femme as a dichotomy for women arose specifically in the American lesbian bar scene around, enh, about the 1940s, to enh, about the 1960s. Closet-keys has a pretty extensive butch/femme history reader. This scene was predominantly working-class women, and many spaces in it were predominantly for women of colour. This was a time when “lesbian” literally meant anyone who identified as a woman, and who was sexually or romantically interested in other women. A lot of the women in these spaces were closeted in the rest of their lives, and outside of their safe spaces, they had to dress normatively, were financially dependent on husbands, etc. Both modern lesbians, and modern bisexual women, can see themselves represented in this historical period.
These spaces cross-pollinated heavily with ball culture and drag culture, and were largely about working-class POC creating spaces where they could explore different gender expressions, gender as a construct and a performance, and engage in a variety of relationships. Butch/femme was a binary, but it worked as well as most binaries to do with sex and gender do, which is to say, it broke down a lot, despite the best efforts of people to enforce it. It became used by people of many different genders and orientations whose common denominator was the need for safety and discretion. “Butch” and “femme” were words with meanings, not owners.
Lesbianism as distinct from bisexuality comes from the second wave of feminism, which began in, enh, the 1960s, until about, enh, maybe the 1980s, maybe never by the way Tumblr is going. “Radical” feminism means not just that this is a new and more exciting form of feminism compared to the early 20th century suffrage movement; as one self-identified radfem professor of mine liked to tell us every single lecture, it shares an etymology with the word “root”, meaning that sex discrimination is at the root of all oppression.
Radical feminism blossomed among college-educated women, which also meant, predominantly white, middle- or upper-class women whose first sexual encounters with women happened at elite all-girls schools or universities. Most of these women broke open the field of “women’s studies” and the leading lights of radical feminism often achieved careers as prominent scholars and tenured professors.
Radical feminism established itself as counter to “The Patriarchy”, and one of the things many early radfems believed was, all men were the enemy. All men perpetuated patriarchy and were damaging to women. So the logical decision was for women to withdraw from men in all manner and circumstances–financially, legally, politically, socially, and sexually. “Political lesbianism” wasn’t united by its sexual desire for women; many of its members were asexual, or heterosexual women who decided to live celibate lives. This was because associating with men in any form was essentially aiding and abetting the enemy.
Look, I’ll just literally quote Wikipedia quoting an influential early lesbian separatist/radical feminist commune: “The Furies recommended that Lesbian Separatists relate “only (with) women who cut their ties to male privilege” and suggest that “as long as women still benefit from heterosexuality, receive its privileges and security, they will at some point have to betray their sisters, especially Lesbian sisters who do not receive those benefits”“
This cross-pollinated with the average experience of WLW undergraduates, who were attending school at a time when women weren’t expected to have academic careers; college for women was primarily seen as a place to meet eligible men to eventually marry. So there were definitely women who had relationships with other women, but then, partly due to the pressure of economic reality and heteronormativity, married men. This led to the phrase LUG, or “lesbian until graduation”, which is the kind of thing that still got flung at me in the 00s as an openly bisexual undergrad. Calling someone a LUG was basically an invitation to fight.
The assumption was that women who marry men when they’re 22, or women who don’t stay in the feminist academic sphere, end up betraying their ideals and failing to have solidarity with their sisters. Which seriously erases the many contributions of bi, het, and ace women to feminism and queer liberation. For one, I want to point to Brenda Howard, the bisexual woman who worked to turn Pride from the spontaneous riots in 1969 to the nationwide organized protests and parades that began in 1970 and continue to this day. She spent the majority of her life to a male partner, but that didn’t diminish her contribution to the LGBT+ community.
Lesbian separatists, and radical feminists, hated Butch/Femme terminology. They felt it was a replication of unnecessarily heteronormative ideals. Butch/femme existed in an LGBT+ context, where gays, lesbians, bisexuals, and transgender people understood themselves to have more in common with each other than with, say, cis feminists who just hated men more than they loved women.
The other main stream of feminist thought at the time was Liberal Feminism, which was like, “What if we can change society without totally rejecting men?” and had prominent figures like Gloria Steinem, who ran Ms magazine. Even today, you’ll hear radfems railing against “libfems” and I’m like, my good women, liberal feminism got replaced thirty years ago. Please update your internal schema of “the enemy”
Lesbian separatism was… plagued by infighting. To maintain a “woman-only” space, they had to kick out trans women (thus, TERFs), women who slept with men (thus, biphobia), women who enjoyed kinky sex or pornography or engaged in sex work (thus, SWERFS) and they really struggled to raise their male children in a way that was… um… anti-oppressive. (I’m biased; I know people who were raised in lesbian separatist communes and did not have great childhoods.) At the same time, they had other members they very much wanted to keep, even though their behaviour deviated from the expected program, so you ended up with spectacles like Andrea Dworkin self-identifying as a lesbian despite being deeply in love with and married to a self-identified gay man for twenty years, despite beng famous for the theory that no woman could ever have consensual sex with a man, because all she could ever do was acquiesce to her own rape.
There’s a reason radical feminism stopped being a major part of the public discourse, and also a reason why it survives today: While its proponents became increasingly obsolete, they were respected scholars and tenured university professors. This meant people like Camille Paglia and Mary Daly, despite their transphobia and racism, were considered important people to read and guaranteed jobs educating young people who had probably just moved into a space where they could meet other LGBT people for the very first time. So a lot of modern LGBT people (including me) were educated by radical feminist professors or assigned radical feminist books to read in class.
The person I want to point to as a great exemplar is Alison Bechdel, a white woman who discovered she was a lesbian in college, was educated in the second-wave feminist tradition, but also identified as a butch and made art about the butch/femme dichotomy’s persistence and fluidity. You can see part of that tension in her comic; she knows the official lesbian establishment frowns on butch/femme divisions, but it’s relevant to her lived experience.
What actually replaced radical feminism was not liberal feminism, but intersectional feminism and the “Third Wave”. Black radical feminists, like Audre Lorde, bell hooks, and Kimberlé Williams Crenshaw, pointed out that many white radical feminists were ignoring race as a possible cause of oppression, and failing to notice how their experiences differed from Black womens’. Which led to a proliferation of feminists talking about other oppressions they faced: Disabled feminists, Latina feminists, queer feminists, working-class feminists. It became clear that even if you eliminated the gender binary from society, there was still a lot of bad shit that you had to unlearn–and also, a lot of oppression that still happened in lesbian separatist spaces.
I’ve talked before about how working in women-only second-wave spaces really destroyed my faith in them and reinforced my belief in intersectional feminism
Meanwhile, back in the broader queer community, “queer” stuck as a label because how people identified was really fluid. Part of it is that you learn by experience, and sometimes the only way to know if something works for you is to try it out, and part of it is that, as society changed, a lot more people became able to take on new identities without as much fear. So for example, you have people like Pat Califia, who identified as a lesbian in the 70s and 80s, found far more in common with gay leather daddies than sex-negative lesbians, and these days identifies as a bisexual trans man.
Another reason radical feminists hate the word “queer”, by the way, is queer theory, which wants to go beyond the concept of men oppressing women, or straights oppressing gays, but to question this entire system we’ve built, of sex, and gender, and orientation. It talks about “queering” things to mean “to deviate from heteronormativity” more than “to be homosexual”. A man who is married to a woman, who stays at home and raises their children while she works, is viewed as “queer” inasmuch as he deviates from heteronormativity, and is discriminated against for it.
So, I love queer theory, but I will agree that it can be infuriating to hear somebody say that as a single (cis het) man he is “queer” in the same way being a trans lesbian of colour is “queer”, and get very upset and precious about being told they’re not actually the same thing. I think that actually, “queer as a slur” originated as the kind of thing you want to scream when listening to too much academic bloviating, like, “This is a slur! Don’t reclaim it if it didn’t originally apply to you! It’s like poor white people trying to call themselves the n-word!” so you should make sure you are speaking about a group actually discriminated against before calling them “queer”. On the other hand, queer theory is where the theory of “toxic masculinity” came from and we realized that we don’t have to eliminate all men from the universe to reduce gender violence; if we actually pay attention to the pressures that make men so shitty, we can reduce or reverse-engineer them and encourage them to be better, less sexist, men.
But since radfems and queer theorists are basically mortal enemies in academia, radical feminists quite welcomed the “queer as a slur” phenomenon as a way to silence and exclude people they wanted silenced and excluded, because frankly until that came along they’ve been losing the culture wars.
This is kind of bad news for lesbians who just want to float off to a happy land of only loving women and not getting sexually harrassed by men. As it turns out, you can’t just turn on your lesbianism and opt out of living in society. Society will follow you wherever you go. If you want to end men saying gross things to lesbians, you can’t just defend lesbianism as meaning “don’t hit on me”; you have to end men saying gross things to all women, including bi and other queer women. And if you do want a lesbian-only space, you either have to accept that you will have to exclude and discriminate against some people, including members of your community whose identities or partners change in the future, or accept that the cost of not being a TERF and a biphobe is putting up with people in your space whose desires don’t always resemble yours.
Good god, this got extensive and I’ve been writing for two hours.
So here’s the other thing.
My girlfriend is a femme bi woman. She’s married to a man.
She’s also married to two women.
And dating a man.
And dating me (a woman).
When you throw monogamy out the window, it becomes EVEN MORE obvious that “being married to a man” does not exclude a woman from participation in the queer community as a queer woman, a woman whose presentation is relevant in WLW contexts. Like, this woman is in more relationships with women at the moment than some lesbians on this site have been in for their entire lives.
You can start out with really clear-cut ideas about “THIS is what my life is gonna be like” but then your best friend’s sexual orientation changes, or your lover starts to transition, and things in real life are so much messier than they look when you’re planning your future. It’s easy to be cruel, exclusionary, or dismissive to people you don’t know; it’s a lot harder when it’s people you have real relationships with.
And my married-to-a-man girlfriend? Uses “butch” and “femme” for reasons very relevant to her queerness and often fairly unique to femme bi women, like, “I was out with my husband and looking pretty femme, so I guess they didn’t clock me as a queer” or “I was the least butch person there, so they didn’t expect me to be the only one who uses power tools.” Being a femme bi woman is a lot about invisibility, which is worth talking about as a queer experience instead of being assumed to exclude us from the queer community.
#cherryhearrts#staranise original#answered asks#ranting in bisexual#lgbt discourse#terf shit#exclusionist shit#radfem shit#apologies to my girlfriend for not including carole queen in this post#she just didn't fit baby
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My Sweet Lord (ch1)
dude is that fucking brenda song?? lol i forgot he was in social network w her what a world huh???
Chapter One - Genesis 3:23
Priest!Joe Mazzello x F!Reader, SFW, 2.5k words
My Sweet Lord masterlist
A/N: ugh this is super short but its rly just kind of an intro,,,, I’m testing the waters here,,,, idk why this was so hard for me to write like its not as good as I want it to be but I’m ok w it rn,,, I might come back n rewrite it real soon n go in n change that so be warned lol but i’m rly excited for where this is going to go cus I do have a lot planned its just getting jumbled in translation lol but enjoy!!
special thanks given in this post!! you can find whole accompanying laylists there as well not just single associated songs!!!
Warning(s): none rn,, unless a priest being kinda into u or u being into a priest is bad cus thats gonna be this whole fucking series m8 so if u dont enjoy defiling holy ground n religious imagery i suggest u move on sorry!!!
The church was filled to the brim with life, with colors and sounds. There were your newest acquaintances, knitting in the corner. They were the main source of the commotion, all shrill laughs, and clacking needles. On the pews further ahead were some children, and a man attempting to corral them but failing in the end. The squeals of the kids echoed through the crowds and came to where you stood at the entrance. When you took in the scene, you were surprised the doors could even close given how the entire town had flocked to its sonorous halls this cold Sunday morning. Inside it was somehow still just as bright like the blinding clouds had followed your shadow.
Though you’d admittedly been to few churches in your lifetime, this one you were sure was exceptionally stunning. How such a grand masterpiece ended up out in these boonies was beyond you. You had felt a bit silly at first, attending mass at all but then you saw the steeple and then there you were, standing in awe of how the building seemed to soar above you. The view of it as you had driven up the small hill was impossible to replicate, how the belltower rose over the rolling grass like the sun that unknowingly led you the dawn of your new life. In your juvenile appreciation of its architecture, you lost yourself in the way the worn stone of the support beams still held the tall ceilings up like pillars of salt to the heavens.
Pillars of salt, you thought, was a fitting image for your situation. Surely you must have blended right into the columns, tributes to every other woman who approached religion and turned their heads back. You were ripped from your runaway thoughts, though, by the bustle of bodies behind you and the urging but ultimately gentle hand that came to squeeze your upper arm. Beatrice stopped at your side and looked up at you with shining, young eyes that got lost in the folds of her lids when she smiled.
There was somehow a familiar and comforting aura about her and when she touched you a blanket of trust always came with the contact. With the top of her auburn beehive just reaching your eyes, her bent body led you to the very front pew and gestured for you to take a seat on the sandalwood. You did as told with a thin smile, still distracted by the arched ceiling of the chapel around you.
As you waited in the congregation for the priest to begin his sermon, your mind wandered to the morning, how the belltower rose, tall and white, over the rolling green hills like the first sun dawning on a new world. Impossible to replicate. It was an unknowing sign of things to come. The church wasn’t something you expected to ever return to much less for it to become something you looked forward to, something that would end up being such a large part of your life. That was all yet, to come through, for, at this moment, your thoughts weren’t busied by the future but rather by the thought of the blinding white exterior of this place of worship, how bright it had been in those early hours.
The organ began and its resonance nearly shook you from your seat, but it certainly caught your attention as intended. The people rose in unison, you doing your best to follow, unfamiliar with the practices seeing as your last time in mass would have been before you were able to remember anything about it. The songs, though, were vaguely familiar, maybe reminiscent of something you’d heard on the radio, seeing as this town picked up almost purely religious stations.
You moved your mouth along to the words, not knowing exactly what they were but doing your best to look like you were competent. The song ended and you sat, grateful it was over, huffing a bit when your body hit the wood. The father beside you gave you an awkward smile when you attempted to cover your relief with a cough and a straightening of your back.
Then when you looked up from your awkward encounter-
Were you very religious? Not particularly, but when in Rome, do as the Romans, right? So when in church, pray. Maybe there had been a little prayer going on in your heart since you entered the building, hell, since you entered the town, a prayer for good things to come, and God must have heard those unintentional prayers because behold before you was what must have been an angel.
He walked slowly to the podium, robes dragging behind him and a glow seeming to emanate from the crown of his head. He seemed like the only living proof of a God that you could find in the whole of the chapel. His hair was wispy, auburn, and looked so soft, reminding you of clouds, and maybe cotton candy if cotton candy were brandy flavored. Bronze, you thought would be the right shade.
The stained glass behind him spread like wings, angels on either side surely singing of his beauty and softness. The haze of his arrival washed over you and you were enraptured. You never thought someone could so quickly feel this way. The romcoms were nice, but they were unrealistic, and most definitely did not happen to you of all people. Completely prepared to shove down these feeling, deep down underneath the mattress of your soul and leave them there to rot, you allowed yourself to enjoy the sermon, or at the very least, enjoy the priest.
God, your gaze hadn’t dropped past his eyebrows before you completely fell. His eyes were soft, pleading, forgiving, but young and curious as well. His nose? You adored immediately. He had, in the kindest way, what you would have referred to as an ‘old man’ nose, a little long, strong, gave him an impeccable silhouette that shown like a holy imagine again the early morning backlight, sun streaming from the tall windows behind him. His chin was soft and cleanshaven, his lips, soft and puffy and lush and looking simply perfect to kiss.
Kiss? You shook your head briefly, half attempting to banish these thoughts you knew you shouldn’t be thinking, but having been so completely lost in his image that you had missed the beginning of his sermon. The congregation spoke back at him at certain times, words you vaguely remembered from childhood. The echoes of “and also with you” kept you anchored to reality as you struggled not to get lost in the languid movements he made as he moved about behind the podium. He spoke animatedly about- Well, you weren’t exactly paying attention, but you did notice how he spoke with his hands, waving them about when he said something about the glory and grace that has been granted so many. His hands were long and thin and surely would be long and thin enough to fit perfectly between your-
The organ boomed through the hall and shook you from your daydream, again, and you, again, tried to lipsync your way through the unfamiliar hymn and failing, again. You had stood for the song, and the stretch was welcome after clenching your thighs so obviously together for so long, but when you sat back down, the cool of the wood and the wetness of your panties made you visibly shudder. Dear, sweet, Beatrice placed a feeble hand on your arm as a sign of concern, along with her shakily drawn on eyebrows being raised. Gripping her wrinkled hand carefully, you smiled, tight-lipped, as a reply of ‘I’m fine’.
You again turned from your elderly friend to the man at the front of the room, the one who demanded your attention with his repetition and his- He smiled, all teeth, cheeks puffing up. A sharp intake of breath was all you could muster before he began to pray. The rest of those looking on seemed to know what to do and you did your best to imitate, but as he pushed his hair back, your lips fell apart and you crossed your legs in desperation, his clergy status seeming to only turn you on more. Fuck, you chastised your own attraction to the taboo. As clandestine as it may have been, though, God, did it turn you on.
“Lord have mercy,” he said, voice effortlessly both round and light.
“Lord have mercy,” you pleaded breathlessly.
“Christ have mercy.” His eyes rose to meet yours for the first time and you choked.
“Christ have mercy” came out like a whine under your breath, unheard under the rest of the mass, but you knew he saw your chest rise and fall heavily as you seemingly tried to breathe in his prayer and send it back to him.
“Lord have mercy.” His own voice wavered when he saw you, red in the face and out of breath. His gaze didn’t move from you as you mouthed the words back at him.
“Lord have mercy.”
Unbeknownst to you, this was not, in fact, the first time he’d laid eyes on you. He had been watching you, side-eyed, the whole service. If his peripheral served him right, you had been the one with your eyes glued to him since he’d first emerged from his chambers. He saw you stand out in the mass, the last of the congregation to sit down after prayers or songs. He was unable to tell whether this was due to you being distracted or inexperienced, or both, but it caught his attention without catching yours, darting his own away just in time as to not catch your gaze. It seemed to work so long as he kept his focus on the other side of the chapel, though the magnetism of your attentive gaze was hard to resist. The man didn’t let himself give in, not until he somehow heard your barely audible repetitions after those of the congregation. Then you saw one another, caught in the undeniable stare of interest. Suddenly, his lungs felt like iron on his chest and he struggled to finish praying.
Again, you were pulled down by the older woman next to you, unaware everyone had been seated and for a moment it was just you and him, standing and caught in this sudden whirlwind of unknown attraction. The world seemed to dissolve around you, focus seeming to blur and leave you with tunnel vision on the holy man. His sermon paused for a moment as he stared at you and smiled softly. You could feel his eyes fall down your body, but then his voice picked up again, being carried over your head in smooth, calming waves and you were lost, again, in his presence that loomed over the crowd like the hanging branches of a willow on a sticky summer day. For the remainder of his sermon, you focused less on his words and more on the mystery that might be hiding beneath those layers and layers of robes that dragged behind him.
If you asked Joe why you caught his attention, he would tell you that you were the first young and clearly not familial woman he had seen in town since his arrival. This was true, that in a town occupied only by elderly folks and new families, you were the first young face he had seen in a long time. Of course, it didn’t help that he found you incredibly attractive and that, as a newly appointed man of the cloth, he had been experiencing somehow more temptations than ever before.
Every verse he read was budding with new meaning and potential, every lust soaked gaze sent your direction waning to go through with it. There was, of course, a pang in his heart every time the thought of you passed through his head. The allure of a woman who was neither the age of his grandmother nor heavily with child was far more than it should it have been. Father Joe knew it was wrong, that he must keep his mind as clean as his body, his thoughts as clean as his actions. “Good thoughts, good words, good deeds,” he said aloud to the congregation, using his slip as some kind of holy motivation.
Another song followed, then a prayer and every time he stood the priest had to force his eyes forward, away from the direction you were sitting. His thoughts went back to the way your skirt slid up your thigh when you sat down and how you must have known how much skin you were showing but when his eyes met yours with one final, united “Amen”, he knew you were too distracted to have noticed.
You watched the priest with unintentional intensity, looking as though you were spaced out, lost in thought and caught on his words, but the reality was that you were simply entranced. All the time you’d spent in this town so far and you had yet to see anyone as young and painfully unavailable as him. Though in the back of your mind you wondered how fidelious some of these new husbands were, you had settled with remaining single, that is, until now. What was more delicious than a man who was not only gorgeous, mature, and clearly into you already, but also one so out of reach, so taboo and clandestine. The beating of your heart when he would slip up and land his eyes on your form a little too long thrummed against the bars of your ribcage like Morse code, an aching organ begging to be hurt.
The service had ended and Beatrice had eagerly joined her group of cawing old ladies, but not before kindly introducing you to the sweet-faced Father that had spoken today. “Darling, this is Father Mazzello, he’s new to the Ridge.” Her smile was sickly sweet and you couldn’t help but smile back, keeping your eyes from the man approaching you.
He’d traded the excess robes for a simple black ensemble already and when he approached you and, God, he looked even better now. His hand was extended to you firmly, holding back any eagerness behind a front of eminence and dignity. Beatrice spoke again as you finally lifted your longing gaze from his nimble, capable, horribly inspiring hands, up his arms, across his shoulders, and finally to his green eyes. They were so much prettier up close. “Father Mazzello,” your friend spoke warmly, “this is [Y/N]. The dear has been staying with me and I’ve finally convinced her to get a bit of God in her.” She laughed and you took the man’s extended hand, holding it motionless.
“I would love a bit of God in me,” you laughed quietly, hopefully only loud enough for him to hear.
Joe swallowed dryly at your low comment and the softness of your hand, “It’s nice to meet you, [Y/N],” he smiled crookedly, “and you can call me Joe.”
#she has a voice!!!#joe mazzello#not queen#fanfic#joe mazzello x reader#priest fic#priest kink#priest#priest!au#priest! joe mazzello
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Radfe.ms are the feminist version of those guys who think they'd survive an apocalypse when they cant even do their own laundry because it's a woman's chore or w/e
Like. What revolution, brenda? What radical social overhaul? You cant even wrap your head around someone not being the gender some doctor wrote on a piece of paper. What "the future is female"? What glorious matriarchal society? You're too obsessed with women's genitals to accept trans women as human beings and think women who do sex work don't deserve equal rights
If the revolution came, you'd see an nb bisexual femme fighting alongside her boyfriend, whine about it, and go join the nearest group of bigoted reactionaries because at least they hate the same people you do lol
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to be fair they dont have that in nohr
#anothr revelation i had is that milee is rly just a sad london tipton#like a london tipton combined w brenda songs character in the social network#who sucks a guys dick in a bathroom stall & then tries to set his house on fire
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Association between non-resident mother/father and motivations to engage in risky adolescent behavior in the US
After looking through the codebook for the AddHealth study, I have decided that I am particularly interested in motivations to engage in risky behaviors. I will include all of the relevant variables in my personal codebook.
I am interested in figuring out what aspects of behavior/upbringing could be associated with motivations to engage in risky behaviors. It’s a riddle to me that most people I thought I knew to be less prone to engaging in risky behaviors apparently engage more than I would expect.
I decided that I am most interested in exploring the association between motivations to engage in risky behaviors and Non-resident father/mother. I add to my codebook variables reflecting risky behavior levels (e.g. disposition to sexual activity and perceived sensitivity to aftereffects of risky behavior) and the presence/absence of father/mother.
I haven’t found a nationwide study that tried to look at the specific association mentioned so far.
Literature
King, V. and Sobolewski, J.M. (2006), Nonresident Fathers’ Contributions to Adolescent Well‐Being. Journal of Marriage and Family, 68: 537-557. doi:10.1111/j.1741-3737.2006.00274.x
Richard A. Crosby, Ralph J. DiClemente, Gina M. Wingood, Brenda K. Cobb, Kathy Harrington, Susan L. Davies, Edward W. Hook, M.Kim Oh,. HIV/STD-Protective Benefits of Living with Mothers in Perceived Supportive Families: A Study of High-Risk African American Female Teens. Preventive Medicine, Volume 33, Issue 3
Cooper, M. L., Shapiro, C. M., & Powers, A. M. (1998). Motivations for sex and risky sexual behavior among adolescents and young adults: A functional perspective. Journal of Personality and Social Psychology, 75(6), 1528–1558. doi:10.1037/0022-3514.75.6.1528
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