Personal experiences with Gender Roles as an AFAB Transmasc

I know not everyone's big on describing yourself with your assigned gender, but for me, it is a pretty significant part of myself and my upbringing specifically. And that's kinda what this post is about.

Growing up as a nonbinary transmasc, there weren't a lot of opportunities for me to have strong feelings about my gender, whether that'd be dysphoria or euphoria.

Presenting masculine-ish as a girl is pretty easy. It's socially very acceptable. We even have a word for it. Tomboy. If there's a non-derogatory version for feminine-presenting boys, I'm not aware of it. I wasn't a full butch tomboy, I kept my hair long and happily wore dresses to special occasions. I also wasn't exposed to particularly strong gender roles. My godfather wore his hair long. My mom being a single mom meant she had to fill the dad role too. My grandparents were equal to each other, even if my grandma was the housewife and my grandpa was the breadwinner - roles that they mostly wrapped up by the time I came around. My gender expression was never about gender, really. It was about convenience. Pants are comfier and allow free movement. Make-up just takes up time in the morning. Flat sneakers are comfier than anything with heels. I wore quite an amount of pink, not by explicit choice, but because they were convenient hand-me-downs. Wearing a pink sweater was more convenient than having to go shopping. Once I got older, I cut my hair short. Also for convenience, of course. (Spoiler: That one wasn't for convenience.) So I didn't really have an opportunity for an "aha" moment when expressing masculinity for the first time. It was just always kinda happening. And it wasn't particularly special. It wasn't like presenting more feminine bothered me, either. No "aha" moments from that side.

I think it's a little more difficult for transmascs to experience and especially identify gender dysphoria. Because growing up female, you're taught over and over that what makes you female is awful, inconvenient, and shameful. Boobs are heavy, painfully sensitive, they get in the way, and give you back problems. Wearing a bra hurts. Not wearing a bra hurts. Bras are expensive, too, but don't you dare show them in public. They're only acceptable in public when they're on poster advertisement models, looking seductively for some reason. When it comes to boobs, no one actually likes having them, but a lot of people enjoy looking at them. There's thousands of jokes about dicks or dick related masturbation. Middle schoolers draw dicks everywhere. It's the height of comedy. You ever see a vulva drawn somewhere? Know a joke or even a euphemism for masturbation involving a vulva/vagina? No, that's taboo. Periods are awful. There are so, so many things I could say here about menstruation, social stigma, pain, and so on. I'm not going to. You've heard it all before, countless times. Of course you hate your period. No one likes their period. There's another whole section I could write about women's role in society as caregivers, about emotional labor, everyday sexism, but you've heard all that as well and the post is long enough already.

Of course you hate being a woman. Being a woman is miserable.

And within this atmosphere, within this external and internalized misogyny, within this misery, how do you differentiate? How do you tell apart dysphoria and the pain of womanhood you've been told is normal? A lot of terfs use this a talking point. They like to claim that trans men are just women who couldn't cope with the misery of the patriarchy. This post isn't about debunking that, but I'd like to briefly go on record and say that they're full of shit. Trans Men are Men. Trans Women are Women.

As someone who hasn't experienced a lot of gender dysphoria or euphoria, this does leave me with the occasional wave of doubt. Are these really trans feelings? Do I just hate being a woman, the way every woman does?

Then I remember that gender is an entirely fake concept and I can do whatever the fuck I want.

no bc it’s so funny to me that canonically we have seen mike look repelled by girls/references to them more times that we’ve seen will (canonically gay) be uninterested/repelled by girls

like sure, Will rejects the girl in Lenora + wants a day free of girls (which seems to also be mostly tied to the fact that will associates girls with not being able to spend time with his friends which IS true in s3 even with sexualities aside), but mike?

Mike canonically:

-looked visibly disturbed/grossed out when dustin was talking about phoebe cates

-made a more disturbed face when El kissed him at the end of s3 than he did while literally holding an inter-dimensional snot slug in s2

-took his girlfriend’s hands off of him while she kissed him

-could not to kiss his girlfriend in s4 without wearing sunglasses

-stood in front of the word “women,” while looking upset and talking about “bullshit media propaganda”

-other examples I’m too tired to grab rn but will put in my full gay mike writeup

like will is absolutely not interested in girls, but the writers show that by not putting him in very many scenarios with girls in any sort of romantic way (ie, it’s just total apathy towards girls in a romantic sense) whereas with mike, the writers chose to put him into those romantic situations with girls but also chose to make him look actively upset by these interactions, rather than just apathetic.

like we don’t have a scene of Will’s face when Dustin mentions Phoebe Cates- because it’s a literal representation of his apathy, the show isn’t even SHOWING us Will’s reaction because he simply does not care. it’s the epitome of apathy. but we DO see Mike’s reaction because the show is showing us his active dislike of affection from women/his active lack of attraction towards women. like we aren’t just Not Seeing It due to apathy like we are with will. We are being explicitly shown that mike Does Not Like it.

and imo (like I’m gonna write in my analysis), this is due to the difference in Will and Mike’s upbringings and the difference in how heteronormativity affects them and how Will is more accepting of his sexuality and less affected internally by heteronormativity compared to mike and how therefore will doesn’t feel the same pressure to BE attracted to women because his sexuality is framed as an attraction to men rather than a lack of attraction to women (ie lonnie and the bullies target will for being gay and verbatim call him gay a queer whereas for people like Ted towards mike, it’s jabs about a LACK of girls around him, Ted doesn’t make fun of Mike being around Will or call him gay/queer, he pokes fun at mike for NOT being around girls) and how even the viewer’s pov of Mike’s sexuality, which is inherently queer by nature, is still put through a heteronormative lens and framed as lack of attraction to women rather than active attraction to men (even though he IS attracted to men)/how Will is rarely shown to lack attraction to women (even though he absolutely does) but his interest in me /being called gay is brought up repeatedly.

We DO see evidence of an active attraction towards men for Mike just like how sometimes (like the girl in Lenora), we DO as we evidence of a LACK of attraction towards girls for Will. But usually it’s us seeing active attraction towards dudes for Will (ie I don’t mean him staring at men gayly 24/7 but I do mean things that are overt references to being gay rather than overt references to not being attracted to women, things like the Alan Turing poster, things like him being called gay slurs, things like him being bullied specifically FOR seeming gay) and also seeing a lack of attraction towards girls for Mike. (Ie mike still shows us hints of being attracted to guys just like Will shows us hints of being actively repelled by girls but for Mike it’s usually us being shown an active dislike of girls (in a romantic sense not a misogyny sense) rather than Will who is shown to have the active interest in men more often. They’re equally disinterested in girls and equally interested in men, it’s not that mike is just not really into girls or guys/less into men than Will is, it’s about their upbringing and the differences in the ways in which heteronormativity has affected them + their worldview + how they view themselves)

Sometimes I don't understand this Winx fan's mania of wanting to redesign everything Winx, the characters... even the planets. I understand that each one can have their own headcanon, but there are already incredible designs in the animated series!!! You just have to expand them!!! Don't redesign them to suit your personal taste!!

Sometimes I wonder if these people really like Winx Club, or they just like it because of what it made them feel in their childhood, and nowadays they don't like it very much but the nostalgia is so strong, that that's why they make these redesigns, they change everything about the characters, so that it is more to personal taste.

I understand that art is an expression... but sometimes so many things change, I don't know what to think.

I've even seen them for rewrites... do they know that I'm going to imagine the story with Winx's designs and not theirs?

Sorry for the rant.

I mean,, I don't think it's fair to say that all redesigners hate winx and just have strong nostalgia. As much as I bitch about the fandom's racism, I'll always be incredibly supportive of the amount of creativity and freedom of expression that fans have here. I've seen some fandoms where every little headcanon and redesign gets scrutinized for literally no reason. Not to bring up hp in the year 2023 but I once saw someone bitch at an artist for drawing hermione with dark brown hair. Like. The winx fandom is honestly one of the only fandoms I've been in where people are encouraged to share how they would change things. (not the only fandom of course, but it's definitely not a thing that every fandom does).

That being said,, I do see your point with some redesigns feeling like it's just hating on the og winx. I think most, if not all, of the people who are really active in the fandom, have a winx sideblog, or just post a lot of winx are very much doing their redesigns out of love. But every now and then, you'll see a redesign where the poster just,, shits on winx for no reason. Like,, I've especially seen a lot of outright misogyny and internalized misogyny about the winx wearing skirts and dresses and being princesses. Like sorry you can't imagine strong female characters with personalities who also wear skirts sometimes. deal.

And again, I have no problem with people just redesigning things for fun and wanting to see how things could be expanded or even improved on, but I've definitely started to notice more of an,, ego complex where some people act like their redesign is the absolute pinnacle of society and the og winx (and occasionally other redesigns) suck shit. Like no dude you're in the same camp smoking the same weed as the rest of us calm the fuck down.

I mean,, I'll always be more in favor of redesigns and headcanons. I think it's a really special part of the fandom! But I also understand why it can be jarring and even upsetting to see people take these characters and places and just,, get rid of every canon aspect to make it what they Want instead of just expanding on what's already there. At that point, it definitely feels like someone just wanted to play in the winx universe but didn't care for any of the actual aesthetics or lore. It also feels like a slap in the face when people completely change a character's entire personality and call it a headcanon like no babe that's not stella winx club, that's generic blonde girl #3. Literally just make your own oc at that point.

I mean again, I'm never going to just shit on someone's headcanon or redesign just because I Personally don't vibe with it. But I am going to call out racism. Always. And someone spending hours creating something doesn't absolve them of being racist.

on your way banning terfs, aye?

Good idea.

Yea sometimes I go on blocking spree and scroll through their blogs to find more terfs to block. The amount of bs, pure hatred and mental gymnastic (along with very obvious internalized misogyny) I've seen on their blogs is mindboggling. Also there's overwhelming amount of them sadly, I wish I could block them all

Yesterday I've seen them making fun of trans woman for the way she walks. Like hello?? Do they really think there's universal distinction between how women and men walk to the point where if you see a silhouette you'd immediately know person's gender?? Or how they were making fun of her hips, like there ain't a cis woman out there that doesn't have that perfect Hollywood poster girl hips. At this point it's just pure misogyny on top of transphobia

I don’t feel bad for her. Yes, generally speaking, younger women have less power in these kinds of relationships. But women like RM and frankly a lot of the younger posters here getting defensive about this also have a lot of internalized misogyny and often refuse to dissect or reflect on the ways their actions contribute to a continuous patriarchy that traps all of us. The Instagram culture that young women dominate right now where, let’s be real, images are posted almost always for older male attention is a way these girls are actively contributing to their own oppression and trying to frame it as some kind of empowerment. They don’t know a damn thing. I don’t feel bad for RM. You reep what you sow.

I don't feel bad for her, she knows what she's doing. And I'm sure she doesn't care what it makes her look like.

When you think of grunge, do you picture a bunch of long-haired White guys in plaid shirts, singing about teenage angst and self-loathing? Time to expand that viewpoint. Standing above them all should be Tina Bell, a tiny Black woman with an outsized stage presence, and her band, Bam Bam. It’s only recently that the 1980s phenom has begun to be recognized as a godmother of grunge.

This modern genre’s sound was, in many ways, molded by a Black woman. The reason she is mostly unknown has everything to do with racism and misogyny. Looking back at the beginnings of grunge, with the preconception that “everybody involved” was White and/or male, means ignoring the Black woman who was standing at the front of the line.

Bam Bam was formed as a punk band in 1983 in Seattle. Bell, a petite brown-skinned spitfire with more hairstyle changes than David Bowie, sang lead vocals and wrote most of the lyrics. Her then-husband Tommy Martin was on guitars (the band’s name is an acronym of their last names: Bell And Martin), Scotty “Buttocks” Ledgerwood played bass, and Matt Cameron was on drums. Cameron would leave the band in its first year and go on to fame as the drummer for Soundgarden and Pearl Jam. But he paid homage to his beginnings by wearing a Tina Bell T-shirt in a photoshoot for Pearl Jam’s 2017 Anthology: the Complete Scores book.

“For some reason a couple of skinheads are up front, calling her [the N-word] And all of the sudden, Bell grabs a microphone stand and she starts swirling it around her head like a lasso… She swung that fuckin’ thing around her head and about the fourth time, she smashed that son of a bitch.”

Bam Bam’s sound straddled the line between punk and something so new that it didn’t have a name yet. Their music combined a driving, thrumming bass line; downtuned, sludgy guitars; thrashy, pulsing drums; melodic vocals that range from sultry to haunting to screamy; and lyrics about the existential tension of trying to exist in a world not designed for you. The band’s 1984 music video for their single “Ground Zero” is low-budget, but Bell’s charisma seeps through.

“She was fucking badass. That’s all there is to it. She was amazing as a performer. I’ve only seen one White male lead singer command the stage in a similar way that Tina Bell did, and that was Bon Scott of AC/DC,” says Om Johari, who attended Bam Bam shows as a Black teenager in the ’80s and who would go on to lead all-female AC/DC cover band Hell’s Belles.

Christina King, a Seattle scenester who was close friends with Bell from 1984 until the early ’90s, says the singer’s talent was obvious. But she believes a lot of people dismissed Bell as a gimmick.

Among those attending their shows: Future members of grunge bands like Nirvana (Kurt Cobain did a stint as a Bam Bam roadie), Soundgarden, Alice in Chains, and Pearl Jam.

“I remember one person saying to me that they didn’t get ‘the whole Black girl singer thing,’ it just didn’t fit whatever they were into,” says King. “They were too ahead of their time.”

Bam Bam came into being in an era when hundreds of underground clubs, taverns, bars, and social halls — anywhere that you could cram in a band — were within the Seattle city limits. Bam Bam played almost all of them, and often to big crowds: The Colourbox, Crocodile Lounge, Gorilla Gardens, Squid Row — just to name a few.

Among those attending their shows: Future members of history-making grunge bands like Nirvana (Kurt Cobain did a stint as a Bam Bam roadie), Soundgarden, Alice in Chains, and Pearl Jam. Not to mention all the other people, mostly White and male, who would become prime targets for music labels trying to market this new sound.

Bell “already possessed everything they were trying to attain. She had a truer rock and roll spirit than almost any of those guys in that town. Everything they tried to do, she naturally was,” says Ledgerwood, still a loyal bandmate.

One Seattle club, The Metropolis, became “like our fucking living room,” says Ledgerwood. It was also the site of an overtly racist verbal assault against Tina Bell.

“For some reason a couple of skinheads are up front, calling her [the N-word],” Ledgerwood recalls. “And all of the sudden, Bell grabs a microphone stand and she starts swirling it around her head like a lasso… She swung that fuckin’ thing around her head and about the fourth time, she smashed that son of a bitch… She nailed that fucker right in the temple of his head. Split like a melon. And the other guy next to him caught it too, they go down, and we’re like, ‘What the fuck?’”

Ledgerwood says that after going backstage for a while to regroup, Bell came back “and put out the most blistering set of our fucking career.”

This could easily be an anecdote about Bell’s power, her resilience, and willingness to fight back against oppressive forces. But it’s also a story about the cost of being a Black woman who does something that some people don’t expect or approve of.

“She’s being pulled out of her zone because somebody is acknowledging how the rest of the world can see her,” says Johari, empathizing with the star rocker. “And even to react to it by picking up a microphone and smashing someone in the face, that means that that incident cost her not only that moment it takes to get back into the song, but the whole [effects of her] action will last for weeks.

“She’ll replay that over and over and over and over again. And then the people she sees that were there when it happened, they’re gonna come up to her and they’re gonna forget everything that she’s saying, all the stuff that she had did, and they’re only going to focus on, ‘I was at that show where you knocked a dude in the head for calling you an N-word,’” Johari says. “It has nothing to do with her artistry. But it reminds her of the way in which she has to be prepared, just in case it happens again.”

King remembers Bell also felt that some of the other men in the band’s changing lineup failed to treat her as an equal partner: “She’s getting that from her own band members — what do you think audience people are like?”

A European tour in the late ’80s gained Bam Bam international fans, but ended after Bell and Martin split up, and Bell was caught in an immigration enforcement dragnet in the Netherlands.

When they returned to the Pacific Northwest, Bam Bam continued playing shows until 1990, when Bell abruptly quit as they were packing up to head to the studio in Portland, Ore.

“She had just had enough,” Ledgerwood says. “For almost eight years she had almost literally eviscerated herself for the audience.”

But that work never resulted in the national recognition they deserved.

“Grunge, whatever that means, is being identified as from your community, your colleagues, your sound that you were a participant in help shaping, and you’re not even mentioned in any of it.”

“Sometimes you need to be a little bit of an asshole to protect yourself. And Bell wasn’t much of an asshole,” Ledgerwood adds. “She was a pure-hearted person and had a really hard time believing that people couldn’t accept her over something as stupid as race.”

Bell didn’t just quit the band, she withdrew from music completely, says her son, Oscar-winning documentary filmmaker TJ Martin. Not out of resentment, he adds, but perhaps to escape the painful reminders that the music she helped pioneer was now earning other bands multimillion-dollar record contracts.

“Grunge, whatever that means, is being identified as from your community, your colleagues, your sound that you were a participant in help shaping, and you’re not even mentioned in any of it,” Martin says. “I can’t even fathom what that would feel like for it to be sort of spit back in your face with such frequency.”

Ledgerwood believes Bell died of a broken heart. But when Bell died alone in her Las Vegas apartment in 2012, the official cause of death listed was cirrhosis of the liver. She had struggled with alcohol and depression. Her son says the coroner estimated her time of death as a couple weeks before her body was discovered. She was 55 years old.

The things that could have told Tina Bell’s story in her own voice are lost. Martin arrived in Las Vegas to find that the contents of his mother’s apartment — except for a DVD player, a poster, and a chair — had been thrown away. All of her writings — lyrics, poems, diaries — along with Bam Bam music, videos, and other memorabilia — went in the trash without her family even being notified.

If you think you were in Seattle in the ’80s, in the grunge scene, and you don’t remember Tina Bell and Bam Bam, you probably weren’t really fucking there.

“I couldn’t help draw a parallel between her not being respected and seen in the first chapter of her life, as the front person of a punk band, and then even in death being disrespected and not being seen for the merits of the life she lived,” says Martin.

Bell’s death is also an indictment of the way she was written out of her own story. The way grunge’s almighty gatekeepers chose to look through her instead of at her. Grunge became the domain of alienated young White men in flannel shirts, and Tina Bell didn’t fit the narrative they were trying to sell.

“Black herstory can suffer immense amounts of erasure if somebody is not brave enough to ensure that women get counted,” Johari says.

To many of those who were part of the scene at the time, the amnesia seems intentional. Ledgerwood brings up the seminal history of Seattle’s grunge era, Everybody Loves Our Town. In it, the author refers to Bam Bam as a three-piece instrumental band mainly notable because Matt Cameron was the drummer. Tina Bell isn’t even mentioned.

“How in the hell would he have a recollection of how great Bam Bam and its drummer was, and not this unbelievably beautiful woman, this firecracker, this explosive rock and roll goddess?” Ledgerwood asks. “Even if he thought she sucked, to not remember the only Black woman on the whole fuckin’ scene is — well, it’s like that old joke about the ’60s: If you think you were in Seattle in the ’80s, in the grunge scene, and you don’t remember Tina Bell and Bam Bam, you probably weren’t really fucking there.”

You can listen to more of Bam Bam’s music on this Spotify playlist. A vinyl album with the band’s songs is coming out this year on Bric-a-Brac Records.

Soviet anti-prostitution poster: “After the destruction of capitalism — the proletariat will abolish prostitution — the great scourge of humanity!”

In the first part of this series, we deconstructed the notion that “transwomen are women” from a Marxist perspective. In that piece I said that notion is perhaps the most destructive facing the left today, but I’m going to have to reconsider that assertion as we tackle the next anti-feminist/anti-Marxist “big lie” facing the left today, the notion that “sex work is work”. Marxism has always recognized prostitution as one of the vilest forms of exploitation; every major Marxist revolutionary has condemned it in unequivocal terms. The Communist Manifesto openly proclaims that the socialist revolution will do away with “prostitution both public and private.”[1] In her first major work, Nadezhda Krupskaya, described how revolutionary workers, during one night of major labor strikes, also directed their rage at the brothels, destroying eleven of them in a single night.[2] And, yet, despite this damning and overwhelming Marxist condemnation of prostitution, the left has started to drink the “sex-work” Kool-Aid. This ranges from assertions that prostitution (and pornography, which is just filmed prostitution) is just a job like any other to outright proclaiming it liberating for women, a strike against bourgeois moralism! Pimps have become re-cast as “managers”, and johns as “clients”. Some so-called “Marxists” have even come out in support of collectivized brothels under socialism! Unsurprisingly, most of these declamations are being made by men who, distraught that the revolution wants to take away “their porn” and “their women”, are now trying to have their cake and eat it too by twisting the Marxist notion of free love and the Marxist attacks on bourgeois morality to suit their own exploitative ends. In this they are assisted by the “PhD Prostitutes”, well-off bourgeois women, often holding advanced degrees, who engage in prostitution as a lifestyle “choice”. Joseph Goebbels would be proud.

But for now, we will leave these reactionary elements to stew where they are. First, it is incumbent to debunk the central assertion behind all of this, that “sex work is work”. To tear this apart, we need to first answer the question, what is labor? In his first major published work, The German Ideology, Marx defines labor as such:

“The first premise of all human existence and, therefore, of all history, [is that humans] must be in a position to live in order to be able to ‘make history’. But life involves before everything else eating and drinking, a habitation, clothing and many other things. The first historical act is thus the production of the means to satisfy these needs, the production of material life itself. And indeed this is an historical act, a fundamental condition of all history, which today, as thousands of years ago, must daily and hourly be fulfilled merely in order to sustain human life.”[3]

To put it in more succinct terms, labor is the process by which human beings create, and facilitate the use, of products of social value. Does the act of sexual intercourse in of itself have social value? Does pornographic material have social value? The answer is no. Sexual intercourse is not a fundamental human need in the way food, water, clothing, and shelter are. Nor does intercourse in of itself help us interpret and understand the world in the way that science and art do. Intercourse does take on social value when its purpose is reproduction, in that case it becomes reproductive labor. It also holds social value when it becomes a means of interpersonal communication, such as intercourse between lovers, but that is not necessarily labor as it does not produce anything of wider use for a community. In Prostitution and Ways of Fighting It, Alexandra Kollontai said, “prostitutes are all those who avoid the necessity of working by giving themselves to a man, either on a temporary basis or for life.”[4] She is clearly separating it from labor, rather defining it as the last act of the most desperate and rejected members of society. What does prostitution create, then? It creates, and increases, alienation and exploitation of the worst kind. Kollontai also railed against prostitution because it “threatens the feeling of solidarity and comradeship between working men and women, the members of the workers’ republic. And this feeling is the foundation and the basis of the communist society we are building and making a reality.”[5]

But if prostitution is not labor, what is it? The answer is simple. Sexual slavery; contractual rape. Continuing on her points already made, Kollontai reasoned that “Prostitution arose with the first states as the inevitable shadow of the official institution of marriage, which was designed to preserve the rights of private property and to guarantee property inheritance through a line of lawful heirs.”[6] This is a summation of what Engels described in The Origin of the Family, Private Property, and the State; that prostitution allowed for men to engage in carnal relations outside of their marriage. In the society that gave birth to prostitution, women were either the de facto property of men, or their de jure property, as in the case of wives. The prostitute was essentially a slave, with no rights or autonomy of her own; her entire existence was devoted to serving men. This continued in the age of feudalism, where prostitution was highly organized and ubiquitous, in order to maintain the chastity and faithfulness of men’s daughters and wives, who remained their property. But it is capitalism that has brought forth the full horrific nature of prostitution, where now the whole lot of woman is threatened with prostitution if they cannot afford to feed themselves and their families, or pay their bills, afford an education, or any of the other necessities working people struggle to obtain and secure. Again we see the separation of prostitution from labor; the prostitute in capitalist society is the woman who cannot make an existence by labor alone. The prostitute is not even considered a human being, but rather a commodity. They are below even the lumpenproletariat, that great mass that contains both those almost totally squeezed dry by capitalism, as well as the criminal element of society, which are still recognized as human. This is the class to which the pimp belongs to.[7] The pimp is a parody of the parasitical capitalist who profits off the labor of the working class; in the case of the pimp, he profits off the dehumanized woman turned commodity.

The industrial and technological revolutions that have occurred under capitalism have only made the prostitute’s life worse. With the advent of mass pornography, especially in the modern age of mass and instant communication, the prostitute is no longer the commodity of just one john, but of millions of johns, who fuck her by proxy; in turn the pimp’s profits are doubled, tripled, quadrupled beyond anything they ever were. And not just women now, but also homosexual and gender non-conforming men, who as “exiles” from the community of men are increasingly finding themselves subjected to the lot previously reserved almost exclusively for women. Almost every pornography website has a section for “transsexual” porn. In prostitution we see the development of patriarchy and capitalism in microcosm; the mass dehumanization of human beings aimed at smashing our solidarity with one another, leaving us increasingly alienated and isolated, viewing one another not as comrades in a common struggle, but vessels to derive selfish pleasure.

The pro-“sex work” advocates would have one believe that entering prostitution is a “choice” freely made on the part of the prostitute, and to deny this is to deny the prostitute’s “agency”. To illustrate their point, they trot out the “PhD Prostitutes” mentioned above. But Marxists should know better than to take such evidence at face value. The Marxist method looks not at the conditions of individuals isolated from society as a whole, but at the individual within the larger social context they exist in. A study conducted by the Soroptimist International, “an international volunteer organization working to improve the lives of women and girls, in local communities and throughout the world” found that most prostitutes “were sexually and physically abused as children, deprived and pushed into selling sex at age 14, on average.” It also goes on to say:

“In one study of prostituted women, 90 percent of the women had been physically battered in childhood; 74 percent were sexually abused in their families, with 50 percent also having been sexually abused by someone outside the family. Of 123 survivors at the Council for Prostitution Alternatives in Portland, Oregon (an agency offering support, education, shelter and access to health services to clients of all sex industries), 85 percent reported a history of incest, 90 percent reported a history of physical abuse, and 98 percent cited a history of emotional abuse.”

The study also notes that women of color, women from the third world, and indigenous women are even more likely to be forced into prostitution.[8] Additionally “71 percent reported being physically abused and 63 percent reported being raped by a customer. In a rigorous study of pimps in seven cities in the United States, 58 percent of prostitutes reported violence, while 36 reported having abusive clients.” It also challenges the notion that “high-class” “call-girl” prostitution is safer than street prostitution, finding that escorts will be abused by johns at least twice a year. But perhaps the most damning evidence presented in the study to the “choice” argument, is the evidence that “more than 90 percent of prostituted women in various surveys want to leave prostitution, but lack viable options.”[9]

Despite this, the pro-“sex work” crowd insist that prostitution is not contractual rape, because prostitutes are giving their consent. But how can “consent” obtained under economic coercion truly be consent? This sounds like arguments put forward in defense of capitalism as a whole; for example, that workers who do not like the conditions of their work or their wages can always “choose” to get a different job. Marxists rightly recognize this argument as a diversion, because of the external circumstances that prevent individuals from just easily choosing the job they want to do. It is the same with the prostitute; her “consent” is only a passive consent, not the active consent that recognized as being necessary for a truly consensual sexual relationship. The “PhD Prostitutes” who are able to freely choose and screen their “clients” represent an incredibly small minority, and perhaps cannot even be considered prostitutes, but bourgeois dilettantes “playfully” aping the suffering of the classes beneath them.

Similarly, abolitionists have come under attack from the “sex work” crowd, being accused of moralism and puritanism. They argue that criminalization only worsens the plight of prostitutes, whereas bringing them into the recognized workforce through legalization and unionization will ease their suffering. In this first part, they are correct. The criminalization of the prostitute is an expression of not just bourgeois, but patriarchal hypocrisy, because the prostitute is essentially punished for trying to survive, punished for fulfilling the desires of the ruling class. The second part, however, is dead wrong. The countries that have legalized prostitution have seen a dramatic increase in human trafficking, because contrary to the free choice arguments of the “sex work” hypocrites, there exists nowhere near enough women who want to commodify themselves to meet the demand.[10] In Australia and New Zealand, legalization has decreased the agency of prostitutes, and increased the power of pimps, by introducing the “all-inclusive”, a single fee paid to the pimp instead of directly to the prostitute, essentially depriving prostituted women of what little power of negotiation they had.[11] In Germany, a pregnant prostitute was coerced into having group sex with a bunch of men who “wanted” a pregnant woman; under German law, this was perfectly legal. The prostitute in question said she felt like she had no power to say no, as her agency had been usurped by the brothel.[12] Similarly, the “sex worker unions” advocated for by the “sex work” activists are another vehicle for pimps and their supporters to exercise their dominance; the Scarlet Alliance, Australia’s largest “sex worker union” even harassed survivors of the sex industry.[13] Rosa Luxemburg did advocate for the formation of revolutionary unions of prostitutes, but not to “regulate” prostitution, but to smash it. In fact, the advocates of full legalization (with or without regulation) belong in the company of fascists, not revolutionary socialists. The Nazis established an extensive and centralized system of brothels in cities and military camps, as well as in the concentration camps themselves. When Franco seized power in Spain, he overturned the abolitionist reforms of the Republic, and re-legalized prostitution so that men were guaranteed their brides were virgins and not “spoiled goods”.[14]

The most effective method of combatting prostitution has been the Nordic Model, which is made up of two components: 1) The decriminalization of selling sex, and the criminalization of pimps and johns; and 2) The creation and strengthening of state resources, such as education, professional training, counseling, and community support, to help prostitutes make a safe exit from the industry. Countries that have adopted the Nordic Model, such as Sweden, Norway, and Iceland have seen dramatic reductions in prostitution. The Swedish Ministry of Justice found that since the adoption of the Sex Buyer Law in 1999, prostitution has fully halved, and continues to decline.[15] Additionally, no evidence has been found that prostitutes are being forced underground as a result of this policy.[16] And most importantly, not a single prostitute has been murdered by a john since the law came into effect. What the pimps, johns, and their apologists cannot stand about the Nordic Model is that it ends their monopoly on power, and actually punishes their exploitation of women, all while empowering their former slaves. This is why they always try to erect obfuscations against the Nordic Model, even outright crying about how it victimizes the “poor johns”. Some of the more cunning faux leftists argue against the Nordic Model on the basis that it increases the power of the bourgeois state and police; or they claim that there is no use in combatting prostitution since no reform under capitalism will eliminate it. On the contrary, the Nordic Model represents a perfect example of a transitional demand. Trotsky defined the transitional demand as being a bridge between the minimum demands of social democracy and the maximum demands of revolutionary socialism; demands that would allow the oppressed to win not just key reforms, but also to increase their strength and confidence against the capitalist state. Transitional demands are not just calls for reform, but calls for openly revolutionary action that will spark reforms and strengthen existing ones. The Nordic Model is a perfect example precisely because it is a reform that strikes at the heart of the patriarchal and capitalist system; it allows the masses to see just who supports and benefits from prostitution. Eugene Debs, when he was city clerk of Terre Haute, advocated for a kind of proto-Nordic Model, refusing to assess fines on prostitutes, because the police took no action against the pimps or the usually wealthy johns. As for the false concerns about increasing the power of the bourgeois state and police, the Nordic Model, like any good transitional reform, forces the state and the police to actually work for, not against, the people they claim to represent. Would these same “socialists” so worried about the cops being unleashed on pimps and johns have cried the same tears when Eisenhower sent in the National Guard to enforce the desegregation of schools in the Jim Crow south? It would, at the very least, be amusing to see a socialist cite this as an example of giving the bourgeois state “too much power”.

To reiterate, every socialist revolution has struck with the full force of its power against prostitution and the sex industry. Every major socialist revolutionary has recognized the emancipation of women from sexual slavery as one of the basic tasks of the revolution. These “sex work socialists” are more than just hypocrites and revisionists, they are outright misogynistic reactionaries. The degeneration of the revolutionary left in the western world, especially in the Anglophone world is what has allowed these trends to sprout and grow. The pernicious influence of neoliberalism and postmodernism have infected the body of the revolutionary left; slowly eating away at it like gradual poisoning. The Marxist concept of free love aims to eliminate the current patriarchal system of sexual coercion and exploitation, and replace it with a humane and open system of actively consensual intimacy. Those who believe otherwise would best be served by dropping the act, and joining the Libertarian Party, because that is where their politics truly lie. The left needs to remember its mission; the liberation of the oppressed peoples of the world, and take an active stand against the pimps and johns playing dress-up as communists.

Season 2, Episode 15: "Phases"

Where 'Teacher's Pet' briefly touched on societies' many toxic expectations of what it means to be a man, 'Phases' takes it one step further by delving into the ramifications of these expectations. Repressed emotions, sexual harassment, and a fear of judgment are just a few by-products of toxic masculinity, and as this episode shows, both men and women are affected by this. Larry sexually harasses women in an attempt to convince himself and others that he's not gay, Xander is not sure what he wants which causes hurt and confusion amongst all the girls, and Cain sees women as objects that don't belong in a man's world.

Unfortunately, the girls are the ones left to bear the emotional burden of enduring the sexual harassment and endless mind games of the guys. Even Buffy must deal with Angelus, the poster boy of predatory aggression.

Through all this, the show cleverly uses the werewolf trope through Oz, ironically the most emotionally mature and self-assured teenaged boy, to give us an insight into the secret life of men. But even Oz struggles with communicating his feelings for Willow, represented by his transformation as a wolf. Seth Green alludes to this when asked about his character, saying, "So, while I would love to explore the more emotional side of him, I think it is going to necessitate a huge and very powerful catalyst to even break through that. It's the werewolf thing. The way that his family has reacted to the whole thing, too, because no one else seemed too upset about their kid being a werewolf. He has been conditioned in one way or another, and while there is a little bit of an emotional reaction, it is pretty internal. It is so much more cerebral than that. He's like well all right, how am I going to deal with that." Oz's response to his transformation is to repress out of fear of judgment and to deal with it all on his own, which nearly leads to Willow being eaten and him being shot by Cain.

Although far from a perfect metaphor, 'Phases' is a great example of how in the game of life, when it comes to misogyny and toxic masculinity, nobody wins.

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Patriarchy and Pop Punk

Written by Theresa Cambe. Graphic by James N Grey

Yes, misogyny exists in almost every genre of music. Rap and country are usually at the forefront of this conversation, however, today we’re going to dive into the misogyny in pop punk. Lets face it, the misogyny is just covered up with layers of nice-guy, sad boy introspection but deserves the criticism just like everyone else. Just because a man holding a guitar gets vulnerable for a second, it doesn’t mean he is exempt from possessing misogynistic tendencies.

Despite the sexism built into this genre, I am more than guilty of partaking in my fair share of pop punk music. I would try to be at every State Champs, Neck Deep, Real Friends, The Story So Far, and every band of the sorts in between, concerts in Southern California between the ages of 14-16. I finger pointed and yelled those angsty lyrics right back at the bands while crowd surfing towards the stage in whatever sweaty venue in LA they happened to be playing at the time. I bought the merch, I hung their posters up in my room, I reblogged their concert pictures on Tumblr, I was about it. And trust me, “No Good” by Knuckle Puck could come on shuffle again and have me passionately screaming the lyrics while driving alone in my car around my god forsaken hometown (but I love my hometown, contrary to the popular sentiment). However now, I am more conscious of its problems.

I think this is the case for many other non-male enjoyers of this music when they also recognize its misogyny. Of course, there is nothing wrong with enjoying pop punk nor do I think enjoying this music makes you a bad person or inherently anti-feminist. A good portion of the demographic for these bands are women. With this large and important part of the fan base, we should start considering the safety of the environments and attitudes they create.

The attitude of misogyny and objectification is built into the foundation of pop punk. It is apparent in whichever “wave” of pop punk you want to point to. Early Blink 182 and All Time Low music videos had women in them to be silent sexual objects parading around the rock star band. There’s Weezer’s infamous sexist, nerd-rock anthems. “Thank God for Girls” sings “Called upon to employ your testosterone / In a battle for supremacy and access to females glued to the TV”. In a Genius lyric annotation of the song, lead singer of the band, Rivers Cuomo himself wrote “I’m so jealous of the hooker-uppers. Seems like it’s so easy to get laid now. All these good looking athletic guys are getting so much free sex. It kills me. Such a bummer. Such a bummer. To be evaluated by women. To be graded. To be rated. Where do I stand? How big? How strong? How enduring? How energetic? How inventive? So sad that it comes to this. So sad. It IS a competition and I AM being compared”. It is really quite ironic that Cuomo writes this but in the same breath has lyrics “The thing I finally found with these other girls in town / She got hot, and they did not” from the song “The Girl Got Hot” and also “You come like a dog when I ring your bell / I got the money and I got the fame / You got the hots to ride on my plane” from the song “The Greatest Man That Ever Lived”. Then there’s also every song on the album Pinkerton that we don’t have time to get into. Even if this self-deprecating behavior is no surprise from Cuomo, it’s concerning and rooted in some serious hate. If you want to argue that it's all satire, they’re still weird thoughts to have.

I can go on about these recurring lyrical themes. For example, there is The Story So Far’s song “Roam” with the lyrics “I know where you’ve been, you’re ruining men, never again will I let someone in”. And the classic from “Mt Diablo” that sings “Do you look at yourself straight in the eyes and think about who you let between your thighs?”. Then there’s FIDLAR’s song “Whore” which as we can expect from the title, says “Why did you go betray me? / You’re such a whore”. Then there’s the mess of “Me vs. Maradona vs. Elvis'' by the band Brand New, which writes “I got desperate desires and unadmirable plans / My tongue will taste of gin and malicious intent / Bring you back to the bar / Get you out of the cold / My sober straight face gets you out of your clothes.” Look into any corner of pop punk and you’ll find these questionable attitudes, but I digress.

These men play the nice guys and aim at making you believe he is the protagonist in every situation. The commonality between all these artists is that they obsess and fantasize over a girl then turn completely sour once rejects them or leaves a relationship. They want a “cool girl” to listen to underground music and really comfort their sad, misunderstood selves but won’t allow them to make a decision outside of his own benefit. Because god forbid these women have their own thoughts and exercise their own actions! Their fantasy is essentially a manic pixie dream girl that doesn’t speak or act out against anything. These men beg to be at the center, and get aggressive when they aren’t.

This is not to be confused with writing a sad song after you got broken up with or hurt by someone in a relationship. This is also not to say that all women are exempt from having toxic behaviors or from being written about. The guise of the patriarchy also harms those it seeks to benefit and therefore enforces rules of masculinity that restricts men from expressing their frustrations and emotions. I believe that writing music about unrequited love or difficult feelings is a healthy way to combat these roles. However, there is a major difference between processing rejection and hating women for rejecting you, which is an area many of these men seem to blur together.

I still have love for these bands and this genre. I can still go to their shows and have the time of my life, easily. But it wasn’t until I got a little older and more realized with my femininity did I revisit these songs and wake up to the fact that it might have not always been in my favor . I was probably too young to notice or care and was distracted by the catchy, yelly tone and how fun it was to jump around to that I never really sat with what some of the lyrics really meant. It was a major factor in my own internalized misogyny back when I was in the throes of it all. I didn’t want to be like those awful girls that these pop punk dudes kept singing about. They were always described in such a terrible way, that all they do is betray and backstab people. They wanted a “cool girl” to understand them and not be like them. So I rejected femininity and disliked other girls as if I’m in this sort of competition for the sad band dude’s attention. I was idolizing these men whose music mainly centered around their disdain for the women they had experiences with so much that it stuck in my brain that I shouldn’t be like them, that I should be appeasing these people I look up to. But I’ve grown to realize that I was only hearing one side of the story. It was a straight white man’s voice constantly, no one else. This one sided narrative created a false perception of reality, one rooted in a sad boy victim complex, that women are the enemy that shouldn’t be trusted because they couldn’t fit the weird male fantasy these dudes possess. Rarely are women represented in this music except through the lens of a man, which as we saw is almost always disdainful or as a character rather than a fully realized and autonomous person. Women are portrayed as commodities to obtain. It alters our perception of reality.

But with most things you love, you want to see them get better. This music has a fond place in my heart and signifies a really fun time in my life where I found my love for music and concerts. But the genre and the spaces it creates has its own set of problems that I want to see improve.

We have to realize that music has a greater impact on culture. The attitudes that create the genre of pop punk affects the audience that consumes it. The one-sided narrative they build implants harmful ideas about relationships and dynamics into their young fans, as it did to me. Regardless if you want to say lyrics are just lyrics and are meant not to be taken so seriously, artists have so much influence on their fans. They are perpetuating the nice guy narrative that men are owed something from women. And sometimes we unfortunately see this point of view reflected in these band member’s actions. The accusations against them for sexual assault, grooming, and manipulation of young girls runs rampant in these spaces and remains to do so. They abuse their positions of power and influence. Using self-pity in songs does not excuse the shitty things you do.

Who is Best Girl in Konosuba?

Welcome back, fellow weebs, to Media & Entertainment Developers Essentials Lessons Book. Today on MEDELB, we’re discussing the question that existed since one of the most disastrous years in the 21st century, 2017. A question that dives into one the greatest anime of all time. Yes, even better than Dragon Ball Z, Cowboy Bebop, and Steven Universe. I am talking about KonoSuba: God's Blessing on this Wonderful World! Today we’re discussing: who is best girl? Aqua? Darkness? Megumin? Your father?

Now it’s important to know that KonoSuba is genius because it supports judicial simplication, a professional term that I can break down for you. Judicational Sampling is the idea that a free society does not impinge on the actual taxing benefits of localized source banks. KonoSuba is genius because it made a lot of money... to make more KonoSuba. It is not Disney, whom is the greatest bottom in the Hollywood industry, but in truth I wouldn’t want it to be. Sometimes, genius is fine where it is and you shouldn’t question it. There are people who question why KonoSuba originated as a light novel, and those people are to be shunned because they also believe Harry Potter is worth reading, straight people are bad, and that ranch dressing is good on pizza. You know, the alt-right and we have enough problems on our hands as it is. And as the great Joe Biden once said,

But today’s focus will be on discussing on who is best girl and how that affects our society. And if you are one of the people unaware of this discussion, then perhaps you should realize that any comments you have contradict themselves and function as your self-righteous wannabe soapbox. In short, you’re acting like a su crit, so please read history. Because ultimately, I am a proud KonoSuba kinnie and member of the intellectual anime community founded by the General Rebecca Sugar. I would appreciate it if you would recognize the context and respect. It. Because ultimately again, I sent you all a respectful anon about this earlier today which you ignore and this sounds, smell, looks, feels, tastes... like Racism. But back to KonoSuba, let us discuss Megumin.

Now, Megumin is a good person. She can create explosions which are big.... explosions, this represents her pride. She wears red which is the color of your blood, so that could mean satanic blood pacts. Megumin represents the resolve in critical deductive intelligent smart reasoning where blind subservience has been... eradicated. But what is blind, subservience? For a simple understanding, think of it as the cooked Molotov of slice of life shows or some other perceptively anodyne prosaic internationalized statement.

Overall, Megumin is a short person so choosing her as best girl is pedophilia and if you try to tell me otherwise, you are a nazi troll and deserve the chamber. And if you agree with me, don’t speak if you’re Afro-American like myself. Because this is just a cartoon for kids and you’re complaining too much about it. Or am I?

Next, we have Darkness, which is a force parallel to light and is also used in the form of attacks in the Kingdom Hearts universe. Those who follow the path of Darkness will usually gain untold power at the expense of something of their former selves, so this naturally explains why she is an explicit masochist. Then again, her real name is Lalatina Dustiness Ford which explains a lot more. We continue asking who she is, and what she is, but nobody is asking how Darkness is. Because looking like the poster child for Aryan superiority with her blonde hair and blue eyes, she isn’t capable of being best girl because that would mean the guillotine for you and I love you too much to not let that happen. She is overall the better character for inventing good things like the dominatrix, but she cannot be best girl because she is a good character and supports capitalism. I too support capitalism but I hate people who think capitalism is alright, if that makes sense.

Aqua is a better contender for best girl because I was fortunate enough to see less porn of her. Kazuma notably has called her worthless, but Kazuma is what internet users would call an braincel. He played video games, so obviously he isn’t one to be speaking on value. Aqua was able to survive getting vored by a frog multiple times, so clearly she is more cunning than the average E-girl. Aqua is able to make the most of her situation and entertain people with watersports.... and tricks. Kingdoms Hearts wishes it had a character named Aqua as cool as this one, but then again, you’d have to wait 4 more years for KH4 so what life would you have? She is mostly blue, which is a color, and I prefer it when anime has color. If it doesn’t, it’s racist. As the wise Alexandria Ocasio-Cortez once said this last November, 

This Disproves Objective Analysis.

She represents the element of the holy flood thesis joining the narrative tripling in subsequent disagreement that there any factual basis to the truth that Kazuma is wrong but because there’s simple authentic observation there is no objective truth. Plus she cries a lot, and if there’s anything I learned from Steven Universe, it’s that if you cry good enough, you can topple entire totalitarian empires. Except for General Rebecca Sugar, because she can smell your fear and absorb it accordingly. She is basically the Mother Teresa of animation. Again, great contender. But we have to consider the others so let’s move on.

Next, we have Wiz. 

...

...

Next, we have Sylvia from their first and latest movie. It’s as they say, if it is new, it is better. I believe Sylvia is more than the sum of their parts, they are caring and charismatic and can turn into a powerful creature. None of the other characters can turn into a powerful creature, and that is why they possess internalized misogyny. The slimy veneer of quasi empiricism can be a very disgusting tool for nefariously slipping in one’s own rotten viewpoint or value. One that you know might otherwise be c̷h̵a̷l̸l̸e̴n̴g̴e̸d̴ ̵a̸s̴ ̸r̵i̷t̸u̵a̷l̵i̴s̵t̷i̴c̵a̷l̶l̵y̶ ̶s̷u̸p̸e̸r̶l̴a̷t̴i̶v̵e̸ ̵o̶r̸ ̷p̶e̵r̵h̷a̵p̵s̵ ̷y̵o̴u̸ ̸t̵h̴i̴n̸k̵ ̷t̴h̶a̶t̶ ̶w̷͍͍̠͉͚̦̦͛̔̓͗̏ā̵̛̬̜̂͋ṙ̸̨̐̌̈̅ ̸̦͔̣̮͔͋̊̑̕i̷̛͎̽̅́͑s̴̠̩̟̝͙̍̏̀͌̑̕ ̷͚͔̦̜̜͊̾̽͊͂j̸̡̨̣̙̮̓͘ų̵̣͚̹̱̐͌̎̑̈̎̆s̶̢͚̺͉̰͂̄̉̾͑ț̵̤̭͔̲̲̮̀͒̏̐̓ ̵̡̙̟̖͐́͋͝p̷̙̳̣̫͍̬͗̽͒̀e̸̻̯̽̆̇́͑͒a̵̡̞̣̫̫̯̰̿͛̅̄̅͂c̷̀͐̊͗͝ͅē̵̠͕̫̙ ̶̻̼̳͑̓̈́̿͐ŵ̷̼̝̣͇̞̞̺̍͋i̸̠͓̪̣̜͍̘͊͂̀̄t̸̟̣͉̼͑̒͜h̵̥̗̲̩̑̏́͜ ̵̡̠͉̝̾̆̌̇͐e̷̢̨̼̺͖̒̈́̃̃̆x̸̟̟͂́̄̍͛́̄t̴͖̣̼̫͇͐͋̆̽̎̚r̷͎̙̯͈͉̲̚a̵̩͎̥̺̮͂̀̃̚ ̸̠̜̣̥̜͍̠̌ṡ̴̢̡̐̽̅̃̇ͅt̴̖̣̹͙̙̼̟̔̐̚͝͝ĕ̵͔͍̤̼̂͌̐̑p̸̡̹̪̻͔̬͕̃̚s̸̫̙̈͛̉̋̉͝ ̶͔͚̽͝y̸̨̘͎̠͕̺̽̉̃o̶̜̥̺͔͑̏ͅu̵̓͜ ̴̨̦͉̀̊͊̓̌̃f̶̢̮̱̳̖̟̼̰͒̊̈͜i̸̯̼̫̩͚̇̉l̸̢̢̯̗̠̪̹͈͎͚̬̭̮̣̬̿̈́̍͘t̸͕͕̮̻̭̰̬͎̻̰̬̙̟̀́̍̋h̷̡̡͎͙̘̩̞̤̰̳͖͙̺͈̅̓͆ͅy̴̡̢̳̤̮̘̻͚̲̪̳̭̗̙͈̽́̔̄̓͊̅̍̓͗͑̓̈̿͝,̵̛͙͚̒͐̍̅̓͗͌̕ ̷̢̡͚̮̜͚͈̖̥̳̹̦̙͈̄́́͛̈́̈́ͅt̸̛̼̯̯̠̰͓̩͍̺̊̽̔͂͑̕ë̵̢̖͕̰͕̜̹̰̫͙̣̩͈́͐͐̿̆̽͌̓̀͐̊̑̀̆͗̕͜ͅͅs̴̢̡̜̯̀͋͛͒͐̌̓̕t̸̠̳̱̙̃̓̽̈̔͗̏̋̓̈̏ ̷̧̧̤͉̦̲̜͔̫̤̯́̽͊̕̚t̸̘̲̼̜̱̿̿͑̽́̈́͋̔͘u̶͍̞̜͛͜b̸̛̯̙̼̜͙̏̓̄̽͆̏͘͝ẹ̷̛̉̑̂ ̵̡̡̞͓̱̤̞̫͛̎̆͘͝b̸̡̡̟̫̱́̔̓̋͗̃̊ǫ̶͍͕̼̥̳͕͖̥͈̼̳̎̒͋ͅŕ̶̢̨̧̛̞̝̰̠͍̥̓͛͗͛̃̏̂ņ̷͔̞̜̟̱̮͍͎̹̬̠̰̳̌͠͝,̸̙͕͓̟̥̜͛ ̶̛͓͊̉̑̍̀̿̽̅̓̂͝͝a̷̧͕͎̜̮̟͚̮̦̜̝̺̿̈́̍̀͂̔͝ņ̴̛̰̮̟̤̭̘̲̠̹̲̟̎̉͂̃̈́̅̂͒͑͠͝ͅͅṱ̶̛̥̘̬̖̳̤͈̟̫̻̘̻̅́̿̓͂̒͂̓̏̐̔̈́̊̊͜į̷̧̱͚̱͉̲̺̬͕̙̀̅̔̆-̷̫͈̳̩͔̠͕͖̹̲̓͊̂̅̈́̔̈́̔̍̎̒̇͌́̃͘͜͜S̶̘̻̱͖̗̠̩̥̝̺̻͕̪̯̊͒͆̽͐́̀͠͝ͅJ̸̨̝̲̬͕͈̘̞̠̱͖̮̒͑̈́̎̃̄̍̃̚͘̚͝ͅͅẂ̸̡̖͉̞͍̙̲͈͈̜̼̪̯̱͇͉̋́͋̎́͗̿̋̈́͂̈́̽̉̚ ̴̣͓̼̟̼̬̙̜͈̰̼̼̖̣̆̅̋̽̕͝͠C̷̙͉̭̜̭̞̝̲̳̰̊̓̃͝E̵̤̟̮͠N̵̨̢̼̱̺̭̦̟̳̪̻̘̿͛̀͜ͅT̸̹͚̆͆͐̊̀̏͑̓̈͝ͅR̸̛̮̲͇̼̻͇̹̙̞̤͎̗̾̊̈́͊͗̋͑̅̿̓̐̔̔͝͝ͅI̵̧̩͕̼̱͚͈̻͎̮̝̖̰̐̑͛̎̂̃̇̇̀̈́́̃̕͠S̶̞̘͔̈́̒̑͒́T!! But, Sylvia is dead, so as much as I wanted to consider, they can’t be best girl so we must move on. 

Next we have Yunyun. It is said that she “forms a rivalry with Megumin as an excuse to create a friendship.” Now we could call her a beta cuckquean, but that would imply you have a life outside a human being. As our current president once said, 

I’m never a Trump supporter myself, but this is wisdom I can kinda get behind regardless. Sure he ghost wrote this, but not all wisdom comes from the mouth. However, Yunyun represents the normalcy of KonoSuba, and as such could be a nice change of pace for those too dependent on the definitive waifu. She has big jiggly boobs, sure, but have you ever considered that her boobs have, personality? A lot of otakus and bronies have not been understanding this as of late, as I feel we’ve overlooked something far more important: Tactile anime feel. We can stare at breasts all we wish, but how realistic are her proportions? You can say it’s fiction all you want, and you’d be right, but if I’m envious that the fiction women have better boobs than mine, my opinion is now better than yours. What I’m getting at is that Yunyun is like a ghost, you try to find her, you search for them, and you look for them, and you try to find them, but you can’t find them, thus they are empty handed.

The last contender is Kazuma, who is the villain of KonoSuba because he doesn’t act like the typical isekai protagonist. He isn’t like Kirito from SAO who was almost involved in incest or Sonic the Hedgehog who believed stalking people is okay as long as you’re alone. As Luigi Mario once said, “It is common, but not too common.” He spits in the face of a critically stupid people because he believes in true gender equality. Those who don’t believe in this philosophy are mostly women, and that’s okay. He must clearly be best girl because he is asserted with the phrase “Give and take”. Most people complain about 11 hour Youtube videos, but they can hardly spend three hours overthrowing their bastardizing governments. Which is why Ligma is not running in the 2020 presidential election, because you keep putting your time in the wrong cubby hole. KonoSuba is a complicated anime, and Kazuma is the crux of that complication. So the sooner you can understand Kazuma, the more you’ll understand KonoSuba; that is why he’s considerably best girl. Otherwise, go play World of Warcraft like the mainstream loving psuedo-intellectual toesucking simp that you are.

To conclude, KonoSuba has a lot to think about for a smart people. Choosing best girl is not about finding your interest, it’s about avoiding callout culture because you have shit taste. If there’s enough controversy, I avoid it unless it can benefit me in the long and short term. Clearly Aqua is the choice for when you yourself have little to prove, Yunyun understandably for when you have nothing to gain, Kazuma for when you want to feel better about yourself. In any case, if you are not horny on main, you are probably the reason Trump got elected because you are yourself sexually fascistic. Sorry, I don’t make the rules and ergo this post was never made for you. Real, in-depth nitty gritty perspective, prescriptive criteria for denationalization context barriers are still alive on the internet. Ultimately, we must decide on whether or not this was all worth it. Simplicity is hard to strive for, but that is why people only use five percent of another’s argument. Or else we’re fans of the She-ra reboot, always over-complicating the idea that kinship will save the day in the end and thinking the creator didn’t copy the great works of famous Shark Tale actor Martin Scorsese. You know? Tankies. I myself have made a long post expressing this complicated issue, but then again, I am a chronophobe. I fear time and I would appreciate if you wouldn’t timeshame me, you potential ablest. So in truth, you choose who is best girl because you are valid. Not more than I but still.

Thank you for reading my post. If you liked this essay, please comment. It’s free. If you liked my paypal, please donate. It’s free. Sharing this would be highly appreciated. It’s free. Dollar Dash Share is offering a free shaving earbud for the first ten sign ups when you use the promo code, ‘MNKY’. Make sure to try out their Curiosity streaming service and use the 5000 silver to unlock new warriors or maps. Thank you for reading............ KonoSuba.

Marilyn Monroe

Who: Marilyn Monroe (born Norma Jeane Mortenson) 

What: Actress, Model, and Singer

Where: American-Jewish (active largely in US)

When: June 1, 1926 - August 4, 1962

(Image Description: a photo of Marilyn Monroe by Richard Avedon from 1957. It is a black and white image showing Monroe on a sparkly dress from the waist up. It almost feels weird to describe her, her face is so famous. She is a white pale woman with an oval face and heavily lidded eyes with long lashes. She has full lips with a beauty mark beside them. She is wearing makeup and has her trademark short, curly, blonde hair. She has her arms hanging limply at her side. Instead of posing sexily she looks to be lost in thought, looking somewhere off camera. End ID) 

Marilyn Monroe is The Hollywood Beauty. The quintessential sexy starlet. Even if you have never seen a movie with her in it, you know who she was, a bit like possible aces I have covered before Andy Warhol or Sir Isaac Newton, you can picture her in your mind just by existing in Western popular culture. She has become a part of our communal consciousness. Her life was brief and marked by tragedy below the glitz and glamor. Her biggest role was playing Marilyn Monroe.

She was intelligent, warm, and a gifted actress, but she is rarely remembered for that. She is far better remembered for singing Happy Birthday to her sometime beau President Kennedy and for the scene in The Seven Year Itch when wind from a subway grate blows up her skirt. You've seen it. Really her whole persona was often created rather than who she really was. She was an actress in her real life, unfortunately.

Monroe actually came into the spotlight in the Second World War when she posed for photos for the boys on the front. From there her modeling, singing, and acting career skyrocketed. Until her tragic death at the age of 36 she was among the go-to actresses for those sexpot roles especially in comedies. Her death by potentially intentional drug overdose (discovered by her psychologist) is just one piece of the evidence of how much of her life was hidden, like her struggles with substance abuse and mental health.

She was famous for playing Blond Bombshells and Dumb Blonds.  She was all beauty, glamor, and sex appeal and it earned her millions of dollars. She always wanted to be more though, unfortunately she never really got it. "Please don't make me a joke," she told a journalist, "End the interview with what I believe...I want to be an artist, an actress with integrity...I want to grow and develop and play serious dramatic parts. My dramatic coach tells everyone that I have a great soul, but so far nobody's interested in it." 

She is best known for as an icon and emblem of the popular culture of the 1950s and early 1960s, but her most definitive/important roles include All About Eve (1950) (a small role that would lead to her "discovery" and contract with 20th Century Fox), Monkey Business (1952), How to Marry a Millionaire (1953), Niagara (1953), Gentlemen Prefer Blondes (1953), The Seven Year Itch (1955), Some Like it Hot (1959), The Misfits (1961), and her final film, released posthumously as a short, Something's Gotta Give (1962). She also sang "Diamonds are a Girl's Best Friend" and the very sexually charged "Happy Birthday Mr. President" (just the song here). 

(Image Description: the poster for Gentlemen Prefer Blondes. It shows drawings of Jane Russel and Marilyn Monroe in red costumes the size and shape of one piece bathing suits that are sheer or pink on top. They have on red top hats and long black and white necklaces. They have black canes and are dancing with one leg upraised. Behind them is a busy Paris scene done in a more cartoony/simplified style. There are musical notes around them. Their names are above their heads in blue.  Below them on a black rectangle it says (in white and orange) "in Howard Hawks' Gentlemen Prefer Blondes [in] Technicolor" below that rectangle but above the studio info in blue it says "co-starring Charles Coburn". End ID) 

Probable Orientation: Mspec Ace

Oh, I am going to get a lot of hate for this one.

And a lot of people are going to show a lot of misogyny and aphobia, be it overt, unintentional, or internalized.  Indeed the first thing the first (allo) person I told these findings to said "but she had a ton of sex!" Yes, that is true, she did, and so do some other aces.

Not to mention that Monroe's relationship with sex was a complicated one. A very complicated one. Monroe had a deeply traumatic childhood (mentally ill mother, tossed between foster homes and orphanages) and married extremely young -- she had turned 16 just two and a half weeks earlier -- to prevent her from becoming homeless and returned to the orphanage after her most recent foster family planned on moving out of state and leaving her behind. Then while working a munitions plant in L.A. she became a model for the troops in World War II, aged 18. From her teen years she was made aware that sex was expected from her, thrust into adulthood and positions she might not have been comfortable with. She was a beautiful woman and people wanted her and she accepted that because it did get her what she wanted.

(Image Description: the 1944 factory photos that launched Monroe's modeling career, taken by David Conover for Yank Magazine at the Radioplane Munitions Factory in which she worked. Interestingly the commanding officer that sent him to take the photos was Ronald Reagan. The photo shows an 18-year-old Monroe. She is holding a small propeller and is beside some kind of red machine. She is wearing a simple green top and gray bottoms with a photo ID badge at her waist. She wears a wedding ring. She has much frizzier brown hair. She is smiling broadly. End ID)  

Over the course of her life she was in love with and had sexual relationships with many different men and women. That doesn't mean she was sexually attracted to them. Indeed throughout her life she had a lot of difficulty with sex. She didn't like it. She thought she must have been doing it "wrong" and stated that a lot of her sex appeal was applied to her rather than something she felt. She was playing to the crowd. Which makes sense, Monroe was a people pleaser. She desired closeness, she romantically loved many people, I have no doubt, and from the time she was a teenager the best appreciated way to show it was by being sexual. The fact that later in life she had a sexual encounter with a literal 16-year-old when she was 30 shows she had a pretty fucked up understanding of what was appropriate sexually. The 16-year-old was the leader of her fan club, she also had an affair with her acting coach, her first husband was her neighbor who was kind to her. She was loving the people who loved her and was showing it the way society told her to. (On her being mspec, there were several women she had affairs with, including the fan and acting coach mentioned above, indeed it has been speculated she was more attracted to women than men).

No matter how she appeared on screen, she voiced fear that she was broken and frigid to her psychologist (who agreed with her) because she didn't really enjoy/want sex.  The desire of wanting to fix herself and wanting to please the people who loved her and who she may have romantically loved in return. She probably romantically loved some of these people but didn't know how to separate that from the sexual aspect or didn't want to lose them if she did. She was giving them what they wanted and expected and what culture told her was essential to normal loving relationships.

Her sexual "failure" was a subject she returned to often in therapy throughout her life. She had only one sexual encounter she actually said she enjoyed and it seemed to be more of a relief because it made her normal than what she got from the sex itself.

She said again and again that she wasn't the sexpot people thought she was, nobody listened.

(Image Description: a series of photos from a photoshoot from Life Magazine. It shows Monroe at home in 1953, a huge year in her career. The photographer is Alfred Eisenstaedt [a photographer of whose work I am extremely fond]. They show Monroe wearing a dark turtleneck and checkered trousers. She is in a bunch of different positions and wearing different expressions. Some of these appear candid and others posed. I am especially fond of one in the middle in which she appears to be trying to stop herself from laughing or sneezing. I like to imagine it is the former. It is very human. End ID)

“People had a habit of looking at me as if I were some kind of mirror instead of a person. They didn’t see me, they saw their own lewd thoughts, then they white-masked themselves by calling me the lewd one.”

-Marilyn Monroe

"I never quite understood it, this sex symbol. I always thought symbols were those things you clash together! That's the trouble, a sex symbol becomes a thing. I just hate to be a thing. But if I'm going to be a symbol of something I'd rather have it sex than some other things they've got symbols of."

—Monroe in an interview for Life in 1962 (both of these quotes illustrate that her "sex appeal" was manufactured and applied rather than her own natural state. Her audience made it clear what they wanted and she played to it.)

"A man who had kissed me once had said it was very possible that I was a lesbian because apparently I had no response to males - meaning him...I didn't contradict him because I didn't know what I was... Now, having fallen in love, I knew what I was. It wasn't a lesbian."

-Marilyn Monroe in her autobiography My Story (written 1954, published 1974). (Note that she has "no response". She loves a man, this one or another, but she has "no response" to men physically. That is the only response he could comment on, her physical one. Clearly she feels some kind of attraction to someone eventually, but not sexually/physically. It is the difference between romantic and sexual love. It also shows that homosexuality and asexuality have always overlapped.)

"Primary frigidity" 

-the diagnosis from Monroe's therapist Dr. Ralph Greenson, he worked to "cure" her of this "frigidity"

“Maybe I’m a sexless sex goddess.” 

– Marilyn Monroe to Life magazine journalist Richard Meryman, 1961

(Image Description: a photo of Marilyn Monroe behind the scenes on the set of The Misfits in 1960, photographed by Inge Morath.  She is leaning across a table and smiling at someone to the right of the frame. She has tired eyes. End ID) 

Deleted Thoughts from Phillippa Analysis

Mostly random disjointed thoughts, some randomly introspective attempt to consider violent femininity oops (i should have gotten deeper in my analysis about what that might mean for phil)

-Does Phillippa offering a last name, albeit a clearly fake one, relate at all to the fact that Phil’s own last name was unknown? Was that something people even thought about, or was it just super normal not to know his last name and thus not something “Phillippa Jonas” would evoke at all?

-I also wonder about age in the characterization of Phillippa; from the pigtails to kittens and unicorns to the Joe Jonas crush, Phil seems to have chosen a very young type of "femininity," but then again, his own branding had a lot of youth to it as well.

-I’m realizing that “Living With Robert Pattison” is actually a weird!phil vid... and positions Robert Pattinson in a parallel position to Dan, and alludes to Phil showering with him... Guess that’s on the analysis list.

-We get a hint of more vampire reference in the presence of the Once More With Feeling poster on the wall. 

-Overall, I wonder if there’s significance in getting a less typical view, with Phillippa on the bed rather than in front of it.

-I think Phil’s fem!phil AU supports my writerly decision to give my fem!phil a crafting channel; he structures her channel around how-tos in a way that he doesn’t do in his overall content at the time.

-Apparently the voice was from an ASMR channel? She doesn’t have any videos up anymore.

-The violent femininity theme is one that generally resonates and appeals to me personally, and definitely did for me as a teenager. I’ve been consistently into blood and vampires and especially things like the Monty Python killer bunny (very Phillippa, I think) that are cute and badass/edgy/violent. For me, as a small cis girl, I think there was an element of finding power and individuality in bringing an edge and a violence to the expected sweet-little-girl things and behavior. I could be a girl and challenge the assumptions of what that meant (even though I also didn’t fit the mold for a tomboy). And likely, there was some not-like-the-other-girls internalized misogyny in there too. And how does this fit with Phil, and his choice to focus on violent femininity as a cis man in his early 20s? There’s clearly a seed in Phillippa of looking at his own less-than-Manly traits, of leaning into a feminine interpretation of himself. He has, like me, a clear interest in weird creepy things, as well as in cute animals. He created Phillippa as a closeted gay man who is at a point where he can laugh about pressures to be more Manly, but the pressures are still there. Even when he’s creating a Feminine Alter Ego, he doesn’t go so far from himself; he frames things in femininity, and perhaps most importantly, Phillippa wants to be feminine, to draw a line and put herself on that side of it even when the blurriness is clearly there. Phillippa isn’t using her edginess to distinguish herself from the other girls; she’s showing us edginess and telling us it’s all part of her very feminine self thank you very much. But as for Phil? I think there could be internalized misogyny there in the desire to show us his femininity without letting it get too feminine, without letting it get vulnerable. Humor and creepy weirdness can both function as defense mechanisms, as ways to keep us a little further from what he’s actually dealing with. He’s not owning his femininity as a source of empowerment or pride in the way that drag might do. He also largely retreading the territory he’s already shown us re: gender in pinof. In pinof, he uses humor (and Dan’s presence) but not the creepy edge to talk about gender in a way that’s comfortable. And the main thing that he seems to do as Phillippa that he couldn’t there is talk about attraction to men. And be a fangirl, really. Maybe he needs the layer of presenting a female alter ego to do that. And  maybe he needs the edge to feel comfortable (and not vulnerable) presenting a female alter ego? Then it’s just Phil doing more of his weird Phil stuff, it doesn’t have to Mean Things?

Doesn’t she get over that tho? She learns abt love and beauty and what they’re rly abt and then she changes the Aphrodite cabin so that everyone can enjoy being beautiful in their own way and she never mentions changing it to be more boyish or whatever

That’s true. She does technically get over it. Why a lot of people say she still has internalized misogyny is bc it doesn’t feel realistic.

Getting over internalized misogyny takes a good long sit-down with yourself where you realize that if you were/are feminine, that wouldn’t make you less of a person.

And Piper doesn’t really do that. She has a conversation with Aphrodite, but they don’t talk about the meaning of being an Aphrodite kid. And that’s still enxternal. We don’t see Piper talk to herself.

I might’ve overstepped when I said she made the Aphrodite cabin more boyish. But the thing is, the cabin didn’t need to change. The rite of passage needed to change, the punishments needed to change, but that was all Drew.

“Aphrodite is about being loving, spreading beauty.”

Her siblings been knew! Until 6 months ago their Head Councilor was Selina “I’ll show them love is worthless” Beauregard! They were hanging fashion and movie star posters on their walls bc they liked them.

The stuff that needed to change was the stuff Drew did as a way of lashing out. But neither the narrative nor Piper distinguishes between Drew’s frankly abusive behavior & her being feminine & into fashion.

Piper doesn’t get over her internalized misogyny, she just changes her worldview to something that can accept being the daughter of Aphrodite. She doesn’t accept that her siblings are fine as they are. In her mind, there’s still a right way to be an Aphrodite kid. There’s still a right way to be a girl.

Happy International Women's Day, folks! 🌷✊🏽

While we're celebrating women, here is a list of 15 important things to remember:

• There are many different ways to be a woman, and the concept of womanhood should be broad and freeing, not narrow and restrictive. We are diverse in our appearances, beliefs, attitudes and behaviours - none of these things cancel out our identity as women.

• Women were NOT "created to do the things that men can't do” (which is basically nothing other than menstruating and giving birth). We are capable of doing anything, and we have every right to do so.

• Scientific research does not support the idea that men and women are fundamentally different in their dispositions, inclinations, attitudes and skills. It's time to stop using this idea to generalise, judge and restrict women.

• "Real women have curves" is not body positivity - it enforces gender stereotypes and excludes more women than it empowers. All women are real women, regardless of their shapes or sizes.

• Declaring that you "only have guy friends" because "girls are drama" is your internalised misogyny at play. It generalises all women and perpetuates negative stereotypes about them that are ultimately untrue. Female friendships are important and powerful, and are in no way inferior to male ones.

• Saying "I'm not like other girls" is also internalised misogyny. It implies that you think that all girls are essentially the same, that the negative stereotypes about them are true, and that they are all inferior to you.

• Women don't need to feel threatened by the successes of other women. It isn't a competition. Support your sisters - there is plenty of room for all of us.

• Things that are related to women (from products to event posters) do not always have to be pink.

• Women are constantly held to higher standards than men regarding their behaviour, emotions, morality and conduct. This is not cool, and glorifying this is not empowering.

• Women should not be expected to limit their own freedoms in order to avoid being targeted by men, and women are not responsible for what men do to them without their consent - ever.

• Being attractive to men (with regard to physical appearance, personality traits, behaviours, or anything else) is not the ultimate goal of a woman. If something she's doing is unattractive to you, don’t expect her to care.

• If you only respect women who meet your personal standards of what a woman should be like, you don't actually respect women.

• Women are not your honour. The concept that "girls are the izzat of the family" places an unfair burden on women, is a tool for restricting their freedoms and controlling their behaviours, and has enabled familial violence against women for far too long.

• You don't need to shout "BUT WHAT ABOUT MEN???" whenever we're talking about women. We haven't forgotten about you.

• If conversations about feminism/ women's rights/ gender equality make you feel uncomfortable or threatened, it's because you have become so accustomed to inequality that anything different feels dangerous to you. It's up to you to fix this, and to unlearn the problematic ideas that you have been socialised with.

Is there anything else you would add to this list?

My Chemical Romance Was an Excellent Band and You're Not Special for Shitting on Them

There was a time when I was extraordinarily uncool. Around age 11 my fashion sense was a mess, my hair was messier, and I listened to My Chemical Romance. 2004. What a year. I was bullied for a lot of things, from my big belly and lil tiddies to my love for these pants. But most especially, I was bullied for my taste in music (no, I’m serious).

I have a distinct memory of a boy who (shall not be named) (thought Billy Talent was the best band ever) would stuff notes in my middle school locker telling me to kill myself because I was an “emo shithead” who listened to MCR. I remember one girl at sleep away camp (I’ll name her) (it was Serina) (she won’t read this) who had a lot to say about my “fat ass” and even more to say about my passion for music, which was dubbed “whiney screaming boy band garbage.” Good times. 

I wrote an article last year about my trials and tribulations with what has been christened “mall emo” and I found out that not only was I accompanied in my laments, but there were literally thousands of people who went through similar things as pre-teens. The difference was, I was bullied into believing that My Chemical Romance was embarrassing. That there were not worthy of praise, and rather, they were something to be ashamed of. Don’t give anyone the idea that you like them. They will make fun of you. They will make you feel stupid. My secret of loving this band became a sinking feeling in my stomach. This feeling followed me through college and beyond. 

The truth was, My Chemical Romance wasn’t just a good band. They were very good. So good that people, to this day, continue to run fan blogs about them despite the fact that they’ve been broken up for like, five (almost six) years. Fans are making their own merchandise. They’re starting podcasts. They’re starting bands. They’ve been following MCR since age 11 like me, or they’re discovering them now as high schoolers, and now, they’re reflecting on how groundbreaking, magnificent, and prolific this band was. It’s not simply teen angst driving them. These fans are older now. They’re looking beyond that and seeing My Chemical Romance for what they were: poetic, theatrical, sincere music. 

From the beginning, they wanted to start a band that sounded like if “Morrissey had joined The Misfits” and they achieved that through their songwriting, expressive creative vision, and their dynamic performances whether they were playing to ten kids in a basement in Philly or a packed arena in Mexico City. There are a plethora of tracks in their discography that illustrate this, but “Thank You For The Venom” is perhaps the most obvious nod to Moz and Jersey’s horror punk band. Later in their career, they took on a bigger, brighter, arena-filling Queen-inspired sound with The Black Parade and broke down barrier after barrier in terms of career success. Later, they brought pop back into the mix on Danger Days and inspired so many with a beautiful apocalyptic concept which brought us the comic books. Conventional Weapons came around and we were faced with another realm of MCR — one that was dirtier, grittier, and yet still uniquely them. 

The roses in the sink. The night vision photoshoots. The blood-drenched magazine covers. The intensity of their music videos. Their old website. The merch and the album booklets and the show posters and the backdrops. The band had every hand in what they visually stood for. It was impressive and almost insane how much work and attention and thought was put into how they were visually perceived. My Chemical Romance took on each new album like one would approach a cohesive feeling — each was its own separate art project with a distinct manifestation. They captured pain and suffering and also valor and heroism all in the same vein. They were stunning. 

Gerard Way was an exceptional frontman from his effortless highs to his on-the-brink-of-death lows. Throughout the entirety of his career with MCR, he was acutely aware of himself and what he represented to millions of fans around the world. A powerful symbol of what it means to face adversity and to be unafraid to "keep on living." On the opposite side of the coin, he was an Iron Maiden and Morrissey fanboy with a deep love for Dungeons & Dragons. He loved his grandma. He wore his heart and every other internal organ on his sleeve. He fought against many things: misogyny, mental health stigma, homophobia, transphobia. Way stood for inclusion and acceptance against all odds, especially during a time when bands were still asking girls to show their tits on camera for backstage passes. 

“You’re not in this alone” was the first MCR lyric ever written from the song “Skylines and Turnstiles." It became the main idea behind the band, as well as a mission statement for them to stand on if they ever lost sight of what was important to them. More importantly, My Chemical Romance never shied away from how enthusiastic their fanbase was (and still is). “Sometimes, honestly, I feel like we’re moderating a support group,” Gerard Way told Spin in 2007. “We tap into dark stuff from the high school years, and it’s our responsibility to bring kids to a positive, nonviolent solution.” They took responsibility for their actions, never faltering on their goals, and they always made kids feel less alone. “It's okay to be fucked up, 'cause there are five guys in this band who are just as fucked up as you but we've overcome that to do what we do,” Way said in Life On The Murder Scene. 

When the music stopped and My Chemical Romance broke up, it was bitter-sweet (mostly bitter) (just kidding). In truth, there was a sigh of relief, but also sorrow. Where else was the band going to go? How much further could they take it? What can we expect from the Way brothers and Frank and Ray in terms of new musical projects that weren’t My Chemical Romance? One could argue that there were plenty of other “emo” bands who were doing something similar — writing intimate songs about intimate things. But admittedly, on a grand scale, no other band did it like MCR. They filled arenas and moved over five million albums over the course of their career which spanned a killer twelve years. They were an enormous band playing loud as fuck songs about incredibly personal ideas and they continued, without fail, to include every walk of life on their journey through the ups and the downs. 

My Chemical Romance created a new musical frontier. Unassisted, they formed an entire subculture of teens and young adults — especially women, mentally ill teenagers, and LGBTQ+ people — who could network together and find acceptance and solidarity in their suffering, which continues to be stigmatizing and written off as the usual case of “teen angst.” Your problem? You’re lead to believe that just because a band has a majority female fanbase it’s not considered sincere and heartfelt music. That it is automatically cringe-worthy and unqualified to be critiqued the way good bands should be critiqued: based on the quality of their music, their artistic vision, and their ability to perform in an entertaining manner. My Chemical Romance was superb. Let go of your misogyny. 

And that’s that on that. 

Catherine Dempsey’s gun fires seven different shades of shit. So what’s your favorite color, punk? You can follow her on Instagram and Twitter.

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I wanted to say, Big THANK YOU to @afewnovelideas, who gave me such sweet TimTam headcanon <3 Love ya! And also now, whenever I'll think about married Tim and Tam, I'll have below scenarios in mind.

So, Tim's and Tam's kids, eh? I know you said only daughters but I was thinking they will have one boy, but when the youngest daughter is around 8 years old.

But kiddos! Before I could think about their interactions with their uncles and aunties I had to think about the kids first, so if you want read about Tim and Tam kids...:

Oldest daughter (I still didn't decide names, but I was leaning towards Hope) is such a daddy's girl in a way of "I do what I want in the way I want - it just so happens that the way I want is is usually widely acceptable." (Honestly all of their daughters are like that.) Like, most of the time she's the poster girl from rich house. Well mannered, very intelligent, pretty, nice and polite, likes helping others (which all of these made her also very popular in school). But then one time in high school, when she had enough of treatment from teachers part of the student body gets due to misogyny/racism/financial status/etc, she organized not only school-wide protest, but also unofficially she made the problematic teachers and principals resign from the position "willingly" if they don't change their attitude. It happened in Gotham Academy, as well in pubic schools in Gotham. Officially there are many suspects as for who stood behind it all, but Hope is far from being considered a suspect even. She didn't say anything to her family about it, but they just know she was behind it. Plus you know she's Tam daughter based on how she rocks purple-coloured clothes. While she's very romantic (the amount of love novels she stole from her mom, uncle Jason and great grandpa Alfred is enormous) she doesn't date as often as her younger sister. Reasons being: 1) she's waiting for "the one"; 2) for all the smarts she doesn't realize when she's flirted with; 3) most boys just don't spark her interest? No, she doesn't have too high standards, what are you talking about; 4) most of the time she's deep in her work/interest at that time and who has time to date when she's planning her future presidency campaign?

Second daughter (Idk... Rose? Lily? Liliana. Or Iris. I wanted some flower-based name) is more of a wildfire than her older sister. Very Tomboyish. Likes to ride on skates and skateboard. While Tim taught all his children self-defense, she practically inherited being adrenaline-junkie from her father. Contender to give the most gray hairs to her parents. Loves animals and gossiping about rock-stars and actors with her older sister. Love all the colours. Possible pansexual. Easily falls in love, but it's usually surface kind of attraction - kind of puppy love, I guess? However she treats all those crushes seriously and is very dramatic about them. "You don't understand, Daddy! Mike was the one and now he would never want to talk with me again!" she sobs dramatically, while snuggling with Titus’ pups. Damian and Jason try to hide their grins while they "console" their sweet niece. Tim rubs his eyes, feeling incoming headache. He only asked why she doesn't want to be in basketball team anymore...

Majority of time, when her and Hope talk with their grandpa Bruce: "Hey, grandpapa? You know how X band is going to play in Metropolis? Shame most of them don't plan concerts in Gotham..." Or 100 and 1 ways how Bruce arranged for certain bands to play in Gotham because the alternative was what? Let his sweet granddaughters go somewhere else where he couldn't keep eye on them? No way!

Third daughter! (Hmmm... I was thinking Martha? After Bruce's mom?) Now that one is destined to take care of WE, as both grandfathers say. Mostly because at the time she was a toddler Bruce and/or Lucius (or both at the same time) were babysitting her, while working in the WE. All conferences/business meetings during which Tim ad Tam were absent because of reasons and so Lucius or Bruce had to be in their place: Lucius or Bruce: "Well, mister Elijah as much as...insightful your opinion was, I think we should refer to expert here" Elijah: "Expert? I'm sorry, Mr ..., but in this company I'm-" L or B, ignoring the guy: "Martha, sweetheart, what do you think we need?" Martha, still colouring and not looking up: "Apple juice" E: "Mr ..., can we please-" L or B: "Apple juice! But of course! Ladies and gentlemen, along with dear Martha's recommendation I suggest we stop here and have half a hour lunch break. Elijah! You have 30 minutes to reconsider what you presented and give me some better suggestion for our problem! Get! Moving!" But besides that, currently she doesn't have more then ten y.o. in my mind and her current hobbies include horses, drawing and manipulating her many uncles and aunties into doing her bidding. Very spoiled. Loves musicals. She hates not going or doing what her older sister do in the moment because she's "too young" (she really wants to spend time with her sisters - around the time she's eight, 2nd daughter is staring high school (or in one) and the oldest is starting college). Very feminine. Loves dresses and cute hair accessories, even when she's older.

First son! And the youngest kid. (I still don't have a name for him) And also mommy's boy. Is more calm and doesn't jump into dangerous situations as often as his dad and sisters. Look, just because he knows how and can take care of bullies twice his size doesn't mean he likes to do it. Can’t we all just get along? He ask that question at least 20 times a day. He’s tired, but the amount of patience he has in astronomically big. Pacifist. The only time he lets himself... snap lets say and release all that stress is during D&D. Total geek, like his dad. One day he would be taller than Tim (ah! those Fox genes - he would be the tallest in this one family) and would internally freak out, whenever his dad decided to carry him like when his was young.

Look, as Richard is known for his flexibility, Jason for his tights, Tim should be known for his upper body strength. Those arms? *chef's kiss* Doesn't matter how old his kids are he would still spontaneously grab them and carry them, because for him they are still his babies. He. Doesn't. Care. The only difference is that earlier he could carry three of them at once, now it's only one (or two if only his oldest and youngest daughters).

Another thing with Tim is that he's kinda helicopter parent. He overcompensates all this neglect from his childhood (plus considering HIS teenager-hood, he worries what his kids are up to) and so he often calls or text his children where they are, with whom they are, are they ok?, do they need him to come back? screw his job he's booking the plane back to Gotham, Tam don't you dare stop me! Tam is more reasonable. Tries to stop Tim from going overboard, because she trust their kids and wants them to have some independence. However she also had few talks with their children about what their public status means and that she isn't above bugging their phones and that she swears on Wonder Woman if any of them don't reply on planned time, she will assume they were kidnapped and WILL recruit ninja-mercenaries to get them back - doesn't matter if they were simply on a date few block from home or on the other side of the planet. Kids didn't believe about ninja-mercenaries until they met their Auntie Prudence.