setfabulazerstomaximumcaptain:
man, browsing the white people tag makes me really bummed out. it’s mostly just angry people ranting about cultural appropriation, which is total bullshit. it’s just ignorant and childish to claim something as your culture’s and your culture’s only in this globalized world we live in and try to tell people what they should or should not do with themselves because you are butthurt that some white person likes something affiliated with your culture. remember that imitation is the sincerest form of flattery. you can come to my city, take all my clothes, adopt my accent, and emulate my every move and i will not care. why? because people are people no matter what they wear or do. now please nut up and stop bickering about dumb stuff and complain about something that’s worth being complained about, like capitalism or ethnic genocide
that awkward moment when
capitalism is largely dependent on the cultural appropriation and misuse of those under imperial Western rule in order to function.that awkward moment when
ethnic genocide is directly caused by people stealing and appropriating the cultures of those under imperial Western rule.
the cognitive dissonance of white people is like, mind-blowing…
capitalism isn’t currently dependent on the misuse of those under imperial western rule (though it certainly has been before)
today’s genocide like what’s happening in burma, africa, and arguably syria has nothing to do with culture stealing. show your work.Hi hello, actual African I’m pretty sure you know nothing about Africa.
Oops someone just got read
And how.
looking is not seeing
Independent Lens, PBS
“Wonder Women! The Untold Story of American Superheroines” (via ihopeyoucontinue4ever)
It also means that 97 percent of how men are portrayed in media are decided on by men. Something to remind MRAs and their ilk of when they complain about the stereotype of men as inept slobs, bad fathers, etc in media and advertising.
Men have the power. So when we men are shat on by the powers that be you don’t get to try and blame women for that.
(via karethdreams)
How much of that is white men tho?
(via howtobeterrell)
Also of that 3% it’s mostly white women
(via strugglingtobeheard)
(via quackdown)
Very important article that everyone should read. I was often called “that deaf girl” so many times in high school and college, which really upset me, because it erased my name, my voice, my identity. I was reduced to being known as “that deaf girl” and people did not bother to learn my name or who I was.
This post refers to people with disabilities such as being deaf, blind, crip, little person, chronically ill, etc. Go and read the whole thing.
Whenever in doubt in how people with disabilities preferred to be known as, you can always ASK. I can’t speak for everyone else with disabilities, but I don’t get offended if people ask me what terms I prefer, and I know that most of my friends don’t, either.
an excerpt:
- Refer to a person’s disability only when it is related to what you are talking about. For example, don’t ask “What’s wrong with you?” Don’t refer to people in general or generic terms such as “the girl in the wheelchair.”
- When talking about places with accommodations for people with disabilities, use the term “accessible” rather than “disabled” or “handicapped.” For example, refer to an “accessible” parking space rather than a “disabled” or “handicapped” parking space or “an accessible bathroom stall” rather than “a handicapped bathroom stall.”
- Use the term “disability,” and take the following terms out of your vocabulary when talking about or talking to people with disabilities. Don’t use the terms “handicapped,” “differently-abled,” “cripple,” “crippled,” “victim,” “retarded,” “stricken,” “poor,” “unfortunate,” or “special needs.”
- Just because someone has a disability, it doesn’t mean he/she is “courageous,” “brave,” “special,” or “superhuman.” People with disabilities are the same as everyone else. It is not unusual for someone with a disability to have talents, skills, and abilities.
- It is okay to use words or phrases such as “disabled,” “disability,” or “people with disabilities” when talking about disability issues. Ask the people you are with which term they prefer if they have a disability.
- When talking about people without disabilities, it is okay to say “people without disabilities.” But do not refer to them as “normal” or “healthy.” These terms can make people with disabilities feel as though there is something wrong with them and that they are “abnormal.”
- When in doubt, call a person with a disability by his/her name.
- READ MORE
(via introverts-unite)
![tzilahjewishcultureandhistory:
Charlotte Salomon (born 16 April 1917) came from a prosperous Berlin family. Her father, Albert Salomon was a surgeon; her mother, sensitive and troubled, committed suicide when Charlotte was nine. (This fact was concealed from her until she was twenty-two.) Charlotte was sixteen when the Nazis came to power in 1933. She simply refused to go to school, and stayed at home.
At a time when German universities were restricting their Jewish student quota to 1.5% of the student body, Charlotte Salomon succeeded in gaining admission to the Berlin Academy of Fine Art in 1936. She studied painting there for two years, even winning a prize on one occasion until it was withdrawn “on racial grounds”. But the antisemitic policy of Hitler’s Third Reich was ratcheting up the pressure on all institutions, and in the summer of 1938, her enrollment was annulled.
Charlotte’s father was briefly interned in Sachsenhausen concentration camp in November 1938, after Kristallnacht, and the Salomon family decided to leave Germany. Charlotte was sent to the South of France to live with her grandparents, already settled near Nice. Her relationship with the elderly couple was not easy, and during one row her grandmother revealed the truth to Charlotte about her mother’s suicide. Her grandmother’s bitterness and depression deepened after the outbreak of war in September 1939, until she also committed suicide.
Next, Charlotte and her grandfather were interned by the French authorities in a bleak camp in the Pyrenees called Gurs. Released on account of her grandfather’s infirmity, the two of them returned to Nice and there – at the beginning of 1941 – Charlotte Salomon commenced the great work that would outlive her short life.
Charlotte Salomon began her extraordinary series of 769 paintings – entitled Life? or Theatre? – by stating that she was driven by the question: ”whether to take her own life or undertake something wildly unusual”.
In the space of two years, she painted over a thousand gouaches, working with feverish intensity. She edited the paintings, re-arranged them, and added texts, captions, and overlays. She had a habit of humming songs to herself while painting. The entire work was a slightly fantastic autobiography preserving the main events of her life – her mother’s death, studying art in the shadow of the Third Reich, her relationship with her grandparents – but altering the names and employing a strong element of fantasy. Charlotte also added notes about appropriate music to increase the dramatic effect, and she called Life? or Theatre? a ‘Singespiel’ or lyrical drama.
In 1943, as the Nazis intensified their search for Jews living in the South of France, she handed the work to a trusted friend with the words, “Keep this safe, it is my whole life.”
By September 1943, Charlotte Salomon had married another German Jewish refugee, Alexander Nagler. The two of them were dragged from their house and transported by rail from Nice to the Nazi ‘processing centre’ at Drancy near Paris. By now, Charlotte Salomon was five months pregnant. She was transported to Auschwitz on 7 October 1943 and she and her unborn child were probably gassed on the same day that she arrived there (October 10).
Source: [x] and [x]
Her statement: ”whether to take her own life or undertake something wildly unusual” really struck me. She was going through such a desperate time and instead of giving in to this, she painted.](http://24.media.tumblr.com/aaa6ccc861bbd5409f1edd2b61cb7719/tumblr_mml3tvx2Td1s35b5zo1_400.jpg)
tzilahjewishcultureandhistory:
Charlotte Salomon (born 16 April 1917) came from a prosperous Berlin family. Her father, Albert Salomon was a surgeon; her mother, sensitive and troubled, committed suicide when Charlotte was nine. (This fact was concealed from her until she was twenty-two.) Charlotte was sixteen when the Nazis came to power in 1933. She simply refused to go to school, and stayed at home.
At a time when German universities were restricting their Jewish student quota to 1.5% of the student body, Charlotte Salomon succeeded in gaining admission to the Berlin Academy of Fine Art in 1936. She studied painting there for two years, even winning a prize on one occasion until it was withdrawn “on racial grounds”. But the antisemitic policy of Hitler’s Third Reich was ratcheting up the pressure on all institutions, and in the summer of 1938, her enrollment was annulled.
Charlotte’s father was briefly interned in Sachsenhausen concentration camp in November 1938, after Kristallnacht, and the Salomon family decided to leave Germany. Charlotte was sent to the South of France to live with her grandparents, already settled near Nice. Her relationship with the elderly couple was not easy, and during one row her grandmother revealed the truth to Charlotte about her mother’s suicide. Her grandmother’s bitterness and depression deepened after the outbreak of war in September 1939, until she also committed suicide.
Next, Charlotte and her grandfather were interned by the French authorities in a bleak camp in the Pyrenees called Gurs. Released on account of her grandfather’s infirmity, the two of them returned to Nice and there – at the beginning of 1941 – Charlotte Salomon commenced the great work that would outlive her short life.
Charlotte Salomon began her extraordinary series of 769 paintings – entitled Life? or Theatre? – by stating that she was driven by the question: ”whether to take her own life or undertake something wildly unusual”.
In the space of two years, she painted over a thousand gouaches, working with feverish intensity. She edited the paintings, re-arranged them, and added texts, captions, and overlays. She had a habit of humming songs to herself while painting. The entire work was a slightly fantastic autobiography preserving the main events of her life – her mother’s death, studying art in the shadow of the Third Reich, her relationship with her grandparents – but altering the names and employing a strong element of fantasy. Charlotte also added notes about appropriate music to increase the dramatic effect, and she called Life? or Theatre? a ‘Singespiel’ or lyrical drama.
In 1943, as the Nazis intensified their search for Jews living in the South of France, she handed the work to a trusted friend with the words, “Keep this safe, it is my whole life.”
By September 1943, Charlotte Salomon had married another German Jewish refugee, Alexander Nagler. The two of them were dragged from their house and transported by rail from Nice to the Nazi ‘processing centre’ at Drancy near Paris. By now, Charlotte Salomon was five months pregnant. She was transported to Auschwitz on 7 October 1943 and she and her unborn child were probably gassed on the same day that she arrived there (October 10).
Her statement: ”whether to take her own life or undertake something wildly unusual” really struck me. She was going through such a desperate time and instead of giving in to this, she painted.
(Source: tibetanpoptart, via mermaid--magick)
(Source: sigillumdiabolik, via quackdown)
