looking is not seeing









creepyold-kit-hands:

coelasquid:

throughthewildblue:

You cannot buy electronics with food stamps. You cannot buy cigarettes with food stamps. You cannot buy pet food with food stamps. You cannot withdraw money with an EBT card (food stamps).

Do you know what else you can’t buy with food stamps? Shampoo, soap, laundry detergent, toilet paper, paper towels, tissues, tinfoil, plastic sandwich bags, toothpaste, cleaning products, tampons, pads, over the counter medications (such as Tylenol, Ibuprofen, etc.), and anything else you can think of that you cannot physically ingest for nutritional purposes.

Do you know what you can buy with food stamps? Food.

Do you know what it’s like to scrounge for change to buy non-edible necessities, use a credit card and EBT card (food stamps) during the same transaction, and then have the person in line behind you judge you for buying the ingredients to make a birthday cake?

People who disseminate false information about food stamps have never had to use food stamps.

Okay, but let’s talk for a second about how that one lady called turkey “big chicken”

You can’t even buy all food with food stamps. You just… you flat-out can’t buy “food that will be eaten in the store/any food sold for on-premises consumption” or any “hot foods” with food stamps—meaning you can’t buy anything hot, you can’t buy anything that gets blended together, you can’t buy anything “pre-prepared,” in most cases you can’t use your EBT card at restaurants. You literally CANNOT purchase a milkshake with food stamps, because it’s considered “sold for on-premises consumption” (which was ridiculous at the place I worked, because the customer had to mix their own milkshake themself with a little machine we provided them, and several people got upset—rightfully so, I think—that it wasn’t covered under food stamps, because they often only found out at the register after already mixing it, often as a treat for their kids). You literally can’t walk into a gas station, grab one of those hot dogs off their grills/out of the little heated food area, and buy it with food stamps, because it’s hot.

And when I say “can’t,” I don’t mean “if the cashier notices you trying and cares enough to stop you, they’ll refuse to do it for you.” I mean “it is actually impossible to do this.” I’m not even sure these people who disseminate false information about food stamps have paid any attention at all when buying things at the store, because what happens is: We scan in the customer’s items, into our computer. The computer has specific codes for the items and rules for what it will let you pay for things with. We scan the customer’s EBT card, and it tells us exactly how much of that price total can be paid for via EBT, and it will not include anything that isn’t food, and it will not include anything considered “pre-prepared” food. It does this automatically AND THERE IS NO OVERRIDE FOR IT. If our machines say that you can’t use the EBT card to pay for something, there is literally nothing we can do to change that, even if we WANTED to.

So no. You can’t buy iPads or cigarettes with food stamps. You can’t withdraw money from casinos or anywhere else with food stamps. You can’t buy dog food with food stamps; sometimes you can’t even buy people food with food stamps. I’m not even sure if you can buy “the big chicken legs” at Disney with food stamps; remember, you can’t buy “any food sold for on-premises consumption” OR any hot foods, and that’s both.

Literally the only thing these fearmongers listed that you can actually purchase with food stamps even if you are in goddamn cahoots with the evil liberal cashier or store manager is soda, and the judgement against people buying that with food stamps is classist fuckwittery at its finest.

So, as always, Fox News is actually flat-out lying, and hateful conservatives both don’t know what they’re talking about and don’t give a fuck about people going through shit that they will never have to go through themselves, and that they in fact don’t have even the tiniest clue about (not even via five seconds’ research; a list of things that can’t be purchased with food stamps is on the Food and Nutrition Services website) but still think they should spout off about to their TV audience anyway.

(Source: sandandglass, via sparklingsodacans)

owning-my-truth:

Taylor Swift’s Racism & “Shake It Off” Video
We clearly need to start a hashtag campaign at this point to #stopracistwhitegirls. Between Miley Cyrus, Katy Perry, Lily Allen and more, the mainstream pop bench is absolutely stacked with racist white girls galore at the moment. But in our 2014 “post racial” America where black people are getting killed every 28 hours by vigilante justice, where Mike Brown’s killer, Darren Wilson, is on paid leave for brutally executing an unarmed black teenager as we speak, and where police brutality against black bodies in Ferguson and across the country is the norm, it’s still so fun and uber cool for white girls to make blackness a costume! You know, since it clearly doesn’t get us killed or anything.
Enter Taylor Swift stage left.

[image description: Taylor Swift in a leopard print jacket with large gold hoop earrings, and cut of jean shorts with a gold chain posturing in front of twerking dancers]
So I’ll admit that I do have a bit of a penchant for bland pop music, and so I have followed Taylor Swift in varying capacities for many years. I understand that her entire image is carefully cultivated to exude innocent, bright eyed and bushy tailed white girl who is always “shocked” when she wins an award. I understand that the reason her image sells is because of the white supremacist patriarchal notion of the “cult of true womanhood,” where moneyed white woman had their femininity defined by 4 traits: piety, purity, domesticity, and submissiveness. It is in this mold that Taylor Swift has built such a massive following and sold so many millions of albums. Ascribing herself to these narrow values by which white womanhood is exalted and elevated in a way that is only accessible to white female bodies and not to WOC has been Swift’s “in” in the music industry more than anything else over the years.
But in the pop industry there is a constant need for reinvention and to push the boundaries ever further with each succeeding musical effort. Even as Swift has cultivated and carefully molded her image to fit this fairly rigid white supremacist patriarchal construct of white femininity and has made millions doing so, the constant churn of capitalism has made the appeal of her wonder bread white girl image fade with time. She needs some way to “spice up” her act and draw attention to herself along with it. As bell hooks so brilliantly says in her cultural criticism & transformation:

There’s a way in which white culture is perceived as too “wonder bread” right now—not edgy enough, not dangerous enough—let’s get some of those endangered species people to be exotic for us. It’s really simply a more up-scale version of primitivism resurging. When blackness is the sign of transgression that is most desired, it allows whiteness to remain static, to remain conservative, and it’s conservative thrust to go unnoticed.

And so, with this in mind, Swift like so many white girls and boys before her, turns to blackness to find that “exotic” flavor to give her bland image the kick it needs. 
What strikes me about the “Shake It Off” video is just how true to form it is with all of the other racist music videos we’ve seen from white women in the past year alone. “Hard Out Here,” “We Can’t Stop,” “23” and more, white girls have been on a roll with their racism and racialized misogyny and Taylor Swift couldn’t wait to join the party.

[image description: Taylor Swift in a red hooded jacket, holding a boom box and wearing a fitted cap in front of black and Latino break dancers]
In one scene from the video we have Taylor Swift dressed as a b-boy with a fitted cap and all, in a brazen and blatant act of cultural appropriation. We all know that the b-boy tradition comes from black and Latin@ youth who get demonized and criminalized daily and who are not able to breakdance without facing harassment from the police. But Swift, drenched in her white privilege and concomitant myopia has no sense of how insulting it is to slip this on as a fun “costume” for a few seconds in her video, as she can always retreat back into her whiteness unassailed while the black and Latin@ breakdancers in her video cannot.
The most disgusting part of the video, though, came, as usual with the twerking scene. White girls just seem to love to throw in a twerking scene into their videos these days. 

[image description: Taylor Swift in a leopard print jacket and gold earrings and chains crawling in between the legs of several twerking dancers and staring up at the butt of a twerking black woman]
This is different from the “Anaconda” video, where black women have agency and control of their sexuality and bodies. Instead, just like her racist white counterparts (namely Miley Cyrus and Lilly Allen), Taylor Swift makes twerking and black female bodies a spectacle before the white gaze. Particularly as she walks between the legs of her twerking dancers and pauses at the black woman in the group and gapes astoundingly at her ass, the white gaze is centralized. In this scene black femininity is clearly exotified and demonized in an animalistic contrast to her conservative white femininity that can gape “shocked” at what she’s witnessing (which black women have literally been doing for centuries). This is white feminism at work, which perpetually ignores crucial intersections of race and gender, and to add insult to injury the scene ends with Swift giggling and looking bashfully at the ground, reifying her innocence and white privilege in the spirit of the cult of true womanhood. These are constructs which black women and other WOC do not have access to due to their race, and which Swift gleefully reinforces with this imagery.
This entire scene is a blatant example of primitivism and misogynoir (racialized antiblack misogyny) in the spirit of the spectacle that people made out of the body of  Saartjie Baartman. 

[image description: Caricature cartoon image of Saartjie “Sarah” Baartman, the “Hottentot Venus.” She is scantily clad with a spear, very large buttocks and her large breasts exposed as well with a white Cherubim alighting on her buttocks]
In case you are not aware, Baartman was a Khoikhoi South African woman, who was brought to Europe in 1810 where she was subsequently paraded around  as a freak show with the “exotic” features of her black female body—her butt, breasts and elongated labia— as the main event. Racist caricatures of her body were made, including the famous cartoon above. After her death, her skeleton, preserved genitals and brain were placed on display in Paris’ Musée de l’Homme until 1974. Her remains were not returned to South Africa until 2002 when she was finally reburied near her home town over 200 years after her birth.
In this video, Swift, like her racist white pop counterparts, taps into the racist traditions that we see in the dehumanization of Baartman. This is absolutely unacceptable. Black female bodies are not foreign, exotic, alien lands for your debasement in a cheap pop video for mass consumption. Black women have agency and deserve humanity and respect. Nobody cares if the dancer was “okay” with being in the scene or not, what we care about is the imagery being produced which enshrines white femininity as the standard and strips black women of agency rather than giving homage and due respect to them (as we see in Rihanna’s “Pour It Up” video, Nicki Minaj’s “Anaconda” video and more which centralize the black female gaze).
 But, if we didn’t know before, we’ve learned in the past year that Swift and all of these other white pop stars are simply shameless. They don’t care. We critique and point out their racism and racialized misogyny and they throw out obtuse comments about how they actually “really love black people” and “have black friends,” you name it, rather than accepting the problematic nature of their work and just apologizing. This is white supremacist thinking in action, as the only emotional universe which matters is that of the white individual in question and not that of the black people who object to the debasement of our bodies and commodification of aspects of our cultures in videos like this. And we see the impact of all of this in the thinking of their fans who myopically follow their stars and don’t realize that they can be fan while still being critical of the actions of their favorite pop stars. It is unacceptable that Swift can shamelessly appropriate from b-boy black and Latin@ culture, parade herself around as a faux-black woman and then exotify and degrade black female bodies for mass consumption in her videos. And it’s so important that we call videos like this out, and demand accountability from artists who put out degrading videos like Taylor Swift just did with “Shake It Off.”  #stopracistwhitegirls2k14
Related Posts:
+ Lily Allen’s Racist “Hard Out Here” video
+ Ke$ha’s Racist “Crazy Kids” video

owning-my-truth:

Taylor Swift’s Racism & “Shake It Off” Video

We clearly need to start a hashtag campaign at this point to #stopracistwhitegirls. Between Miley Cyrus, Katy Perry, Lily Allen and more, the mainstream pop bench is absolutely stacked with racist white girls galore at the moment. But in our 2014 “post racial” America where black people are getting killed every 28 hours by vigilante justice, where Mike Brown’s killer, Darren Wilson, is on paid leave for brutally executing an unarmed black teenager as we speak, and where police brutality against black bodies in Ferguson and across the country is the norm, it’s still so fun and uber cool for white girls to make blackness a costume! You know, since it clearly doesn’t get us killed or anything.

Enter Taylor Swift stage left.

[image description: Taylor Swift in a leopard print jacket with large gold hoop earrings, and cut of jean shorts with a gold chain posturing in front of twerking dancers]

So I’ll admit that I do have a bit of a penchant for bland pop music, and so I have followed Taylor Swift in varying capacities for many years. I understand that her entire image is carefully cultivated to exude innocent, bright eyed and bushy tailed white girl who is always “shocked” when she wins an award. I understand that the reason her image sells is because of the white supremacist patriarchal notion of the “cult of true womanhood,” where moneyed white woman had their femininity defined by 4 traits: piety, purity, domesticity, and submissiveness. It is in this mold that Taylor Swift has built such a massive following and sold so many millions of albums. Ascribing herself to these narrow values by which white womanhood is exalted and elevated in a way that is only accessible to white female bodies and not to WOC has been Swift’s “in” in the music industry more than anything else over the years.

But in the pop industry there is a constant need for reinvention and to push the boundaries ever further with each succeeding musical effort. Even as Swift has cultivated and carefully molded her image to fit this fairly rigid white supremacist patriarchal construct of white femininity and has made millions doing so, the constant churn of capitalism has made the appeal of her wonder bread white girl image fade with time. She needs some way to “spice up” her act and draw attention to herself along with it. As bell hooks so brilliantly says in her cultural criticism & transformation:

There’s a way in which white culture is perceived as too “wonder bread” right now—not edgy enough, not dangerous enough—let’s get some of those endangered species people to be exotic for us. It’s really simply a more up-scale version of primitivism resurging. When blackness is the sign of transgression that is most desired, it allows whiteness to remain static, to remain conservative, and it’s conservative thrust to go unnoticed.

And so, with this in mind, Swift like so many white girls and boys before her, turns to blackness to find that “exotic” flavor to give her bland image the kick it needs. 

What strikes me about the “Shake It Off” video is just how true to form it is with all of the other racist music videos we’ve seen from white women in the past year alone. “Hard Out Here,” “We Can’t Stop,” “23” and more, white girls have been on a roll with their racism and racialized misogyny and Taylor Swift couldn’t wait to join the party.

[image description: Taylor Swift in a red hooded jacket, holding a boom box and wearing a fitted cap in front of black and Latino break dancers]

In one scene from the video we have Taylor Swift dressed as a b-boy with a fitted cap and all, in a brazen and blatant act of cultural appropriation. We all know that the b-boy tradition comes from black and Latin@ youth who get demonized and criminalized daily and who are not able to breakdance without facing harassment from the police. But Swift, drenched in her white privilege and concomitant myopia has no sense of how insulting it is to slip this on as a fun “costume” for a few seconds in her video, as she can always retreat back into her whiteness unassailed while the black and Latin@ breakdancers in her video cannot.

The most disgusting part of the video, though, came, as usual with the twerking scene. White girls just seem to love to throw in a twerking scene into their videos these days.

[image description: Taylor Swift in a leopard print jacket and gold earrings and chains crawling in between the legs of several twerking dancers and staring up at the butt of a twerking black woman]

This is different from the “Anaconda” video, where black women have agency and control of their sexuality and bodies. Instead, just like her racist white counterparts (namely Miley Cyrus and Lilly Allen), Taylor Swift makes twerking and black female bodies a spectacle before the white gaze. Particularly as she walks between the legs of her twerking dancers and pauses at the black woman in the group and gapes astoundingly at her ass, the white gaze is centralized. In this scene black femininity is clearly exotified and demonized in an animalistic contrast to her conservative white femininity that can gape “shocked” at what she’s witnessing (which black women have literally been doing for centuries). This is white feminism at work, which perpetually ignores crucial intersections of race and gender, and to add insult to injury the scene ends with Swift giggling and looking bashfully at the ground, reifying her innocence and white privilege in the spirit of the cult of true womanhood. These are constructs which black women and other WOC do not have access to due to their race, and which Swift gleefully reinforces with this imagery.

This entire scene is a blatant example of primitivism and misogynoir (racialized antiblack misogyny) in the spirit of the spectacle that people made out of the body of  Saartjie Baartman.

[image description: Caricature cartoon image of Saartjie “Sarah” Baartman, the “Hottentot Venus.” She is scantily clad with a spear, very large buttocks and her large breasts exposed as well with a white Cherubim alighting on her buttocks]

In case you are not aware, Baartman was a Khoikhoi South African woman, who was brought to Europe in 1810 where she was subsequently paraded around  as a freak show with the “exotic” features of her black female body—her butt, breasts and elongated labia— as the main event. Racist caricatures of her body were made, including the famous cartoon above. After her death, her skeleton, preserved genitals and brain were placed on display in Paris’ Musée de l’Homme until 1974. Her remains were not returned to South Africa until 2002 when she was finally reburied near her home town over 200 years after her birth.

In this video, Swift, like her racist white pop counterparts, taps into the racist traditions that we see in the dehumanization of Baartman. This is absolutely unacceptable. Black female bodies are not foreign, exotic, alien lands for your debasement in a cheap pop video for mass consumption. Black women have agency and deserve humanity and respect. Nobody cares if the dancer was “okay” with being in the scene or not, what we care about is the imagery being produced which enshrines white femininity as the standard and strips black women of agency rather than giving homage and due respect to them (as we see in Rihanna’s “Pour It Up” video, Nicki Minaj’s “Anaconda” video and more which centralize the black female gaze).

 But, if we didn’t know before, we’ve learned in the past year that Swift and all of these other white pop stars are simply shameless. They don’t care. We critique and point out their racism and racialized misogyny and they throw out obtuse comments about how they actually “really love black people” and “have black friends,” you name it, rather than accepting the problematic nature of their work and just apologizing. This is white supremacist thinking in action, as the only emotional universe which matters is that of the white individual in question and not that of the black people who object to the debasement of our bodies and commodification of aspects of our cultures in videos like this. And we see the impact of all of this in the thinking of their fans who myopically follow their stars and don’t realize that they can be fan while still being critical of the actions of their favorite pop stars. It is unacceptable that Swift can shamelessly appropriate from b-boy black and Latin@ culture, parade herself around as a faux-black woman and then exotify and degrade black female bodies for mass consumption in her videos. And it’s so important that we call videos like this out, and demand accountability from artists who put out degrading videos like Taylor Swift just did with “Shake It Off.”  #stopracistwhitegirls2k14

Related Posts:

+ Lily Allen’s Racist “Hard Out Here” video

+ Ke$ha’s Racist “Crazy Kids” video

(via aeonsofgrace)

trekbedtimestories:

potterheadfrom221bgotthetardis:

#periods

“Periods” was not what I was thinking when I saw this

(Source: dixonchesters, via smashleycrazy)

thetrolliestcritic:

nkhamiltons:

Because it’s still happening, i’m making this post

STOP USING THAT MILKY WASHED OUT PSD ON PEOPLE WITH OLIVE/BROWN/DARK SKIN

not only is it ugly anyway, but it lightens skintone, and that’s obviously a problem. that psd is only made for pale people and its meant to only compliment pale people - do not use it on brown/black! this is problem not only found in the 5h fandom, but all around tumblr as well. you need to understand that whitewashing poc is wrong and if you honestly don’t know why please google it.

don’t be afraid of vibrance and high saturation, it doesnt matter if it was a 2011 trend or w/e, it looks better than those milky psds. use more yellows and reds in your curves - brighten your colors!

i’ve made two things to help people edit less like this and here are the links:

tutorial on coloring edits with dark skinned people

psd that doesn’t lighten dark skinned people

if you want another psd or tutorial you can request me, i’ll do it

JUST STOP USING THAT UGLY MILKY WASHED OUT PSD

Y’all remember that time when I told these roleplay helpers to stop whitewashing people of color’s skin when they make edits, and lost some friends over it? Yep.

(via commiekinkshamer)

of-angels-and-idjits:

the-fandoms-are-cool:

ibisvilen:

literarysins:

jinx0cookie:

silliestlovesongs:

I’m sexually attracted to this Jacket

Photobucket

I have reblogged this before and I will again. Can’t get over this thing.

I should make this now.

I had two ideas for what I would get married in.

1. Pirate Attire

2. A cross between a dress and a tux

you have created both

Marry me in this and I will love you forever 

(via chainsawmascara)

ivoryathena:

Badass women of the future:

  1. Malavath Poorna, the youngest person ever to reach Mount Everest’s summit at the age of 13 years, 11 months
  2. Ann Makosinksi, Canadian inventor of a flashlight powered strictly by body heat at age 16

  3. Mo’Ne Davis, first girl to throw a Little League World Series shutout in history, with fastballs reaching speeds of up to 70mph, at age 13

  4. Alia Sabur, youngest university professor in the world, appointed to Konkuk University in South Korea at age 18

  5. Asia Newson, owning and operating a candle sales business alongside her father, is Detroit’s youngest entrepreneur at age 10

(via commiekinkshamer)

bookpatrol:

Minnesota: Land of 10,000 lakes and 1 floating library

There are lakes everywhere in Minnesota and now one of them has a floating library.

Thanks to Sarah Peters the contraption above is open for business on Cedar Lake in Minneapolis. Designed by Molly Reichert the 8 foot structure will hold upwards of 80 books for water travelers to peruse and check out.

Canoes, kayaks, paddle boards, skiffs, rowboats, or even inner tubes are invited to paddle up to the Library and browse the shelves from inside their watercraft. The library has both circulating and reference collections of artists’ books contributed by artists nationwide. A staff of friendly floating librarians facilitate the check out process and make reading suggestions

There are even drop off boxes on the shore to return the books.

About the project, Peters told the Minneapolis Star Tribune “Art books are not a widely known art form..And so there’s an element of delight and surprise. First of all, canoeing along and coming across a library. And then having it stocked with books that are totally unique. It’s like this double whammy of inventiveness. It can expand people’s ideas of what art is.”

True enough but it could also ruin a lot of those unique books. Granted one cannot enter the library but the confluence of books and water rarely ends well.

Perhaps a shore-based library by the landing dock could have achieved the goal of exposing people to the pleasures of book arts and artists books without  the high risk. But then again maybe the reward is in the risk.

Story at the Star Tribune: The land of 10,000 lakes now has a floating library 

Floating Library website

Flickr set of the Floating Library, 2013

h/t Shelf Awareness

(via bookporn)

tastefullyoffensive:

Hannibal Buress on peer pressure. [via]

tastefullyoffensive:

Hannibal Buress on peer pressure. [via]

(via littlefanglittlefang)

DARREN WILSON WAS FIRED FROM HIS FIRST POLICE JOB FOR BEING INVOLVED IN A SHOOTING OF A BLACK WOMAN.

cakeandrevolution:

startorrent02:

He has a record of killing us an they hired him back and put him in a community that’s mainly black?!?!?! I CANNOT. http://www.dailymail.co.uk/news/article-2732986/Darren-Wilson-s-policing-job-Missouri-police-department-shut-entire-force-replaced-amid-racism-corruption-allegations.html

His entire department at a previous town was shut down because of widespread corruption. they were literally so bad that people voted to close the police down.

(via chainsawmascara)