worlds smallest shrimp just wants to be frens <3

[id: small doodle of my fursona jules on lined paper. jules is an anthropomorphic anomalocaris. end id]

💌🤭

jules jules jules, where do i begin?

i actually don't think i could properly articulate how deeply i care about you. i love talking to you and i love getting lil whatsapp notifications about things that remind you of me. and even if we don't talk, i love seeing you on my bereal and just knowing that you're doing okay. much love for you <3

Drew Barrymore at the Ever After premiere - that dress is SO❣️❣️❣️❣️❣️❣️❣️

YES!!! Exactlyyyyyyy!!!! She was iconic in that. So beautiful. One of my fave red carpet dresses of all time!!!

I NEED YOU TO REMIND ME WHEN IS "The Cottage" BDAY PLZ

for scientific "their nature" reasons

I began posting The Cottage January 11, 2019. It was completed by the end of that month with the epilogue added in March of that year.

Any particular reason why you ask??? 👀

PLEASE “ich gehe ich bin am gehen” has me CRYING lmao it will live in my head rent-free for the rest of my life

ajsjdiiskaajks good to know that im not the only one able to laugh at bad german jokes LMAO

Lady Godiva by Jules Joseph Lefebvre (1891)

Young Woman With Sword by Jules-Élie Delaunay (1828-1891)

Chickens shouldn't be counted as birds, just as emus, penguins, ostriches and other flightless birds shouldn't. Agree or no?

No. Nothing in the definition of a bird says that it has to fly, or even have feathers. A bird is simply any biped that doesn't wear clothes.

Behold a bird:

(Painting of Diogenes by Jules Bastien-Lepage)

In contrast with professional drag queens, who were only playing at being women onstage, [Esther] Newton learned that the very bottom of the gay social hierarchy was the province of street queens. In almost total contrast to professional queens, street queens were "the underclass of the gay world." Although they embraced effeminacy, too, they did so in the wrong place and for the wrong reason: in public and outside of professional work. As a result, Newton explained, the street queens "are never off stage. Their way of life is collective, illegal, and immediate." Because they didn't get paid to be feminine and were locked out of even the most menial of nightlife jobs, Newton observed that their lives were perceived to revolve around "confrontation, prostitution, and drug 'highs'." Even in a gay underworld where everyone was marked as deviant, it was the sincere street queens who tried to live as women who were punished most for what was celebrated-and paid-as an act onstage. When stage queens lost their jobs, they were often socially excluded like trans women. Newton explained that when she returned to Kansas City one night during her fieldwork, she learned that two poor queens she had met had recently lost their jobs as impersonators. Since then, they had become "indistinguishable from street fairies," growing out their hair long and wearing makeup in public-even "passing" as girls in certain situations," in addition to earning a reputation for taking pills. They were now treated harshly by everyone in the local scene. Most people wouldn't even speak to them in public. Professional drag queens who didn't live as women still had to avoid being seen as too "transy" in their style and demeanor. One professional queen that Newton interviewed explained why: it was dangerous to be transy because it reinforced the stigma of effeminacy without the safety of being onstage. "I think what you do in your bed is your business," he told Newton, echoing a middle-class understanding of gay privacy, "[but] what you do on the street is everybody's business."

The first street queen who appears in Mother Camp is named Lola, a young Black trans girl who is "becoming a woman,' as they say'." Newton met Lola at her dingy Kansas City apartment, where she lived with Tiger, a young gay man, and Godiva, a somewhat more respectable queen. What made Godiva more respectable than Lola wasn't just a lack of hormonal transition. It was that Godiva could work as a female impersonator because she wasn't trying to sincerely live as a woman. Lola, on the other hand, was permanently out of work because being Black and trans made her unhireable, including in female impersonation. When Newton entered their apartment, which had virtually no furniture, she found Lola lying on "a rumpled-up mattress on the floor" and entertaining three "very rough-looking young men." These kinds of apartments, wrote Newton, "are not 'homes.' They are places to come in off the street." The extremely poor trans women who lived as street queens, like Lola, "literally live outside the law," Newton explained. Violence and assault were their everyday experiences, drugs were omnipresent, and sex work was about the only work they could do. Even if they didn't have "homes," street queens "do live in the police system."

As a result of being policed and ostracized by their own gay peers, Newton felt that street queens were "dedicated to "staying out of it" as a way of life. "From their perspective, all of respectable society seems square, distant, and hypocritical. From their 'place' at the very bottom of the moral and status structure, they are in a strategic position to experience the numerous discrepancies between the ideals of American culture and the realities." Yet, however withdrawn or strung out they were perceived to be, the street queens were hardly afraid to act. On the contrary, they were regarded by many as the bravest and most combative in the gay world. In the summer of 1966, street queens in San Francisco fought back at Compton's Cafeteria, an all-night venue popular with sex workers and other poor gay people. After management had called the police on a table that was hanging out for hours ordering nothing but coffee, an officer grabbed the arm of one street queen. As the historian Susan Stryker recounts, that queen threw her coffee in the police officer's face, "and a melee erupted." As the queens led the patrons in throwing everything on their tables at the cops-who called for backup-a full-blown riot erupted onto the street. The queens beat the police with their purses "and kicked them with their high-heeled shoes." A similar incident was documented in 1959, when drag queens fought back against the police at Cooper's Donuts in Los Angeles by throwing donuts-and punches. How many more, unrecorded, times street queens fought back is anyone's guess. The most famous event came in 1969, when street queens led the Stonewall rebellion in New York City. Newton shares in Mother Camp that she wasn't surprised to learn it was the street queens who carried Stonewall. "Street fairies," she wrote, "have nothing to lose."

Jules Gill-Peterson, A Short History of Trans Misogyny

thinkinf blue collar!simon thoughts…

welder!simon making you those pretty metal flowers. welder!simon who loves when you pack lunch for him because its so domestic and he’s out of the house by 0400 in the morning anyway. welder!simon who talks about you to all the down-to-earth guys that come through and have a job for him. welder!simon who always showers right when he gets home because he know how you get when he gets thise little curls of steel that latch onto his shirt on the couch or get dirt on the bed.

mechanic!simon who always gets your vehicle in and out before anyone else though possible. mechanic!simon who offers to fix things up at your house/apartment for free because he (wants to spend time with you) knows how expensive things are… and he is your friend, so why not just do it out of the kindness of his heart? mechanic!simon who is friends with you long enough to know your favorite animal/song, so he casually gets a tattoo of the animal silhouette/lyrics because he has tattoos anyway so why not get one that reminds him of you?

electrician!simon who always jumps to offer his work skills if you need. electrician!simon who always lets you know the latest gossip that he hears on the job if you want to know. electrician!simon who always calls you after a work accident/scare: he fell about twenty feet and landed on his back and his first thought was of you, simon got shocked by a live wire and asked for you to come cook him dinner because he burned through some skin tissue (and he knows you’d do it).

For every note this gets I’ll travel 1 league under the sea.

Jules Joseph Lefebvre: 'The Grasshopper' (1872)

🐈‍⬛ 😈 <33

*sang in the most swoony voice known to mankind* julessssssss

🐈‍⬛ animal

ohhh i have not thought about this in a while! maybe a stag for now, because that's my most recent tattoo hehe

😈 meow meow

at the moment, it is jeff from the movie bottoms because i believe all little meows meows are required to be stupid and evil :)

emoji asks!

glass onion had lgbt rep in the way that i prefer: a character is shown to be gay in a subtle yet unmistakeably domestic way, and then nothing romantic happens and we go solve a murder with the power of friendship and violence

When a straight man lashes out after dating or having sex with a trans woman, he is often afraid of the implication that his sexuality is joined to hers. When a gay man anxiously keeps trans women out of his activism or social circles, he is often fearful of their common stigma as feminine. And when a non-trans feminist claims she is erased by trans women’s access to a bathroom, she is often afraid that their shared vulnerability as feminized people will be magnified intolerably by trans women’s presence. In each case, trans misogyny displays a fear of interdependence and a refusal of solidarity. It is felt as a fear of proximity. Trans femininity is too sociable, too connected to everyone—too exuberant about stigmatized femininity—and many people fear the excess of trans femininity and sexuality getting too close. But sociability can never be confined or blamed on one person in a relationship; it’s impersonal, and it sticks to everyone. The defensive fear and projection built into trans misogyny, whether genuine or performed, is an attempt to wish away what it nonetheless recognizes: that trans femininity is an integral part of the social fabric. There will be no emancipation for anyone until we embrace trans femininity’s centrality and value.

Jules Gill-Peterson, A Short History of Trans Misogyny

La Sorcière - Jules Michelet, 1862

illustrated by Martin van Maële