In other news...

Cream Muslim Dress, ca. 1798, French.

Musée des Arts Décoratifs Paris.

I learned a couple of weeks ago that the greek "stizo" (mark, tattoo) and english "stick" have some shared proto indo european root. haunted by this because it means that "stigmata" and "stick and poke" are on some level cognates

theorizing the girlblogger: an abridged bibliography

you can buy my dissertation in print here or read the free pdf here. but here's some texts that were key to my interdisciplinary approach ✿✼:*ﾟ:༅｡.｡༅:*･ﾟﾟ･⭑

books

glitch feminism by legacy russell

pirate philosophy: for a digital posthumanities by gary hall

a tumblr book: platform and cultures by allison mccracken, alexander cho, louisa stein, and indira neill hoch

nomadology: the war machine by gilles deleuze and feliz guattari

papers

cyberfeminism with a difference by rosi braidotti

rethinking the public sphere: a contribution to the critique of actually existing democracy by nancy fraser

utopian plagiarism, hypertextuality, and electronic culture production by the electronic disturbance

what is love? queer subcultures and the political present by virginia solomon

the digital afterlives of this bridge called my back: women of colour feminism, digital labour, and networked pedagogy

memes, videos, artifacts

the electronic labyrinth

monoskop page for cyberfeminism

pirate care syllabus

cyberfeminism index by mindy seu

david karp: why i started tumblr

cyberfeminism as glitch and archive by new(inc)

original hacker manifesto

hole theory by meerschweinchen1993

syllabi by northwindow

thank you so much and enjoy 𓆩ꨄ︎𓆪

tell me what are the best songs of EVERY splatbands (including the idols)

AIGHT BET!

Squid sisters: calamari inkantation

Off the hook: ebb and flow (octo)

Deep cut: smeared canvas

Squid squad: kraken up

Front roe: sandy side up

C-side: clickbait

Wet floor: Rip entry

Sashimori: chopscrewey

ink theory: broken coral

YATGB: Ska-blam

Damp socks ft off the hook: Candy coated rocks

Diss pair: kinetosis

Bottom feeders: seafoam shanty

Hightide era: sucker punch

Chirpy chips: wave prism

H2whoa: aquasonic

Riot act: no plan survives

Dedf1sh: #12 awake

Turquoise october: bouyant boogie

Free association: Routine (3)

I probably missed a band lmao

@notmuchtoconceal

Maybe I'll win you over to bears with these awful white panties.

;D

I just need to find out what other weird things you like in order to link them to what I want, or more precisely, HOW I WANT YOU. You too will be conditioned by me sooner or later.. HAHAHA

The Nicki Minaj and Megan Thee Stallion feud, explained

By Olivia McCormack and Herb Scribner

Megan Thee Stallion released her biting song “Hiss” on Friday — a punchy diss track that takes aim at the haters and critics she’s encountered throughout her career.

“Hiss” has climbed high up on streaming charts since Friday, Jan. 26, with more than 5 million plays on Spotify, made waves throughout the rap community and ignited a social media firestorm with fans of Minaj, who claim Megan directly insulted her on the track.

[...]

Though no names were mentioned in this song, a number of “Hiss” lyrics appear to reference Minaj, too. One line, fans say, seems pointed at Minaj’s family: “These h--s don’t be mad at Megan, these h--s mad at Megan’s Law.”

“Megan’s Law” could be a reference to a federal law that requires police to share information with the public about convicted and registered sex offenders. It was named after Megan Kanka, a 7-year-old who was raped and killed in 1994 by their neighbor, a convicted child molester. In the wake of Megan Kanka’s death, her family campaigned for a law that would require police to tell communities about sex offenders, noting that they would not have let their daughter cross the street if they had known about their neighbor’s past.

It appears Minaj, and many on social media, believed the diss to be directed at Minaj’s husband Kenneth Petty — a registered sex offender who served four years in prison after he was convicted of attempted rape in 1995 and was put on probation in 2022 for failing to register as a sex offender in California.

Another line — “I can never be judged by a b---- that was dancin’, makin’ R. Kelly go viral” — might be a reference to Minaj, too, since she released a song in 2018 called “Up in Flames,” where she cheekily mentioned R. Kelly with the line, “Even R. Kelly couldn’t touch the kid.”

Representatives for Megan Thee Stallion did not respond to a request for comment about the lyrics and if she was directly referencing Minaj and Petty.

Nicki Minaj responds with ‘Big Foot’ diss songs

With the internet swirling with theories about Megan’s lyrics, Minaj took to X (formerly Twitter) to voice her displeasure with the song and announce her follow-up “Big Foot,” which she released on Monday.

The title appeared to be a reference to Megan’s 5-foot-10 height and the fact that she was shot in the foot by Lanez.

In the song (which was released with an a cappella version on streaming), Minaj claims Megan lied about the shooting incident with Lanez while referencing the death of Megan’s mother, saying: “Swearin’ on your dead mother when you lie” and “F--- you get shot with no scar?”

Minaj also accuses Megan of sleeping with her best friend’s partner and having ghostwriters. She claims Megan lied during her 2022 interview with anchor CBS’s Gayle King. In that interview, Megan said she was worried for her life during the incident with Lanez.

“I never put my hands on anybody,” Megan told King. “I never raised my voice too loud. This was one of them times where it shouldn’t have gotten this crazy.”

King later wrote for Oprah’s website that she believed Megan’s account on the night and she stood by the music artist.

“I’m so fascinated that people still don’t think that she’s telling the truth. How can that be?” King wrote. “You’ve heard all the rumors; please listen to what she has to say and then ask yourself, What does she gain by lying?”

Has Megan responded to Nicki Minaj’s diss track?

Megan has yet to respond directly to “Big Foot,” though she posted a photo on her Instagram Story on Friday of herself laughing after Minaj shared a snippet of the song before it was released.

Representatives for Minaj did not respond to a request for comment.

Minaj says on X that she has five songs ready to release if Megan so much as “breathes” wrong. Minaj is also seeking an apology from Megan for her comments on “Hiss.”

“I don’t think you want the next installment of this song,” she says on “Big Foot.”

Source: Washington Post

im reading through the genderflex zine from the 90s and im getting emotional. we've always been here. and we've always been taking amateur photos of ourselves in our truer forms, regardless of the extent to which we can express that in our day to day lives. i love us trans and genderqueer folks <3

Symba Expresses disappointment in J.Cole apologizing to Kendrick Lamar in his latest "Control" Freestyle! #Symba

Fashion Plate, 1797, French.

From Journal des dames et des modes.

Portraying a woman in red and green turban, pale orange dress and pink shawl.

BNF Gallica.

For this and other reasons, I should like to conclude these observations with a look at some lines from one of his [William Carlos Williams's], and modern America's, finest poems, one whose shape is still being used, or rather the outline of whose shape is still being used, by many poets. It is the first poem of his early sequence called Spring and All, and is a version of the reverdie, the traditional spring song which one finds in English verse from the thirteenth century on: By the road to the contagious hospital under the surge of the blue mottled clouds driven from the northeast––a cold wind. Beyond, the waste of broad, muddy fields brown with dried weeds, standing and fallen patches of standing water the scattering of tall trees All along the road the reddish purplish, forked, upstanding, twiggy stuff of bushes and small trees with dead, brown leaves under them leafless vines–– Lifeless in appearance, sluggish, dazed spring approaches–– This is a poem of discovery, of the gradual emergence of the sense of spring from what looks otherwise like a disease of winter. The "contagious hospital" is both a colloquial usage, by doctors and patients, for the longer name, and a hospital that is itself contagious, that leaks its presence out onto the road. The cold wind will be revealed as a spring wind, but not before the poem's complex act of noticing has been completed. The meter here is a typographic strip about 30 ems wide with a general tendency to break syntax at tight points (lines 3 and 4 are normal, rather than exceptional); but notice the traditional use of discovery-enjambment in lines 2 and 3––"under the surge of the blue" because of its audible dactylic melody aims the syntax at a noun version of "blue," a metonymy for sky. But the next line discovers its mere adjectival usage, appositively with "mottled," and the hopefulness of upward motion, the brief bit of visual and perhaps spiritual ascendancy is undercut by the bleakness of the wintry scene, and the totality of its non-greenness, even the exclusion of available blue. For the buds of the spring do indeed look, at first glance, like tumorous nastiness of the branch. But the poem moves toward the avowal of the discovery: "Now the grass, tomorrow / the stiff curl of wildcarrot leaf." Its real conclusion, however, is revealed in the final moralization: "One by one objects are defined–– / It quickens: clarity, outline of leaf." The action of the poem is specifically discovered to be one of focusing; as one rotates a knob on the consciousness, the objects are defined, both in the world of the poem and by the poem, by poems in general. [...] This is as visual a poem in every sense as one could find, a soundless picture of a soundless world, its form shaped rather than incanted, its surface like that of so much Modern poetry, now reflecting, now revealing its depths and, as the conscious wind of attention blows over it, now displaying the wavy texture of its surface. Put together from fragments of assertion, it has virtually no rhetorical sound. But its shape has become a familiar one––particularly for contemporary poetry of the eye––about its possibilities, betrayals and rewards, about rediscoveries of the visionary in the visual.

john hollander, from "the poem in the eye" in vision and resonance, 1975

i’m like a pdf but a girl: girlblogger as lover