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My new album, Joss Whedon Kind Of Really Sucks and Even Though I Have and May Continue to Enjoy Some of His Shows or Aspects of His Shows That Doesn’t Mean That I Don’t Need To Recognize How They Have A Lot of Problematic Elements, is coming out next week!
It’ll feature such hits as:
- "The Origin Story of the Slayers is What Now?”
- "There’s A Spirit Journey And The Spirit Guide Is Offensive, This Whole Episode Is Offensive"
- "The Black Man Is The Villain Part Eins"
- "The Black Man Is The Villain Part Deux: Wait, So The Twist Is The Black Guy Was the Villain All Along?"
- "Was That Part With Spike And Buffy At The End Of Season Six Really Necessary. Could Spikes Character Development Not Be Achieved Some Other Way."
- "Dude Your Stories Have A Lot of Rape And Sexual Assault In Them."
- "I Guess Every Asian Actor In North America Was On Holiday For The Entirety Of The Filming Of Firefly Because There Sure Are A Lot Of Not Chinese People In This Chinese-American Culture."
- "Dude Your Stories Have A Lot of Rape And Sexual Assault In Them Reprise: Seriously Even Narratives Where Actual Physical Sexual Assault Is Absent Definitely Have This Sort of Undertone Its Creepy"
- "A Lot Of Stories End With Women Getting Punished For Having Sex Part One: Season Two Of Buffy"
- "A Lot Of Stories End With Women Getting Punished For Having Sex Part Two: Faith"
- "A Lot Of Stories End With Women Getting Punished For Having Sex Part Three: Of Course The Sex Worker Has A Secret Fatal Illness"
- "A Lot Of Stories End With Women Getting Punished For Having Sex Part Four: Penny Hecks A Dude, Penny Bites the Dust"
- "A Lot Of Stories End With Women Getting Punished For Having Sex Part Five: Like Going Back To Inara There’s A High Sex Worker Body Count In General"
- "A Lot Of Stories End With Women Getting Punished For Having Sex Part Six: I’m Sure There’s Plenty Of This In Dollhouse But I Can’t Even Parse It All Right Now"
- "A Lot Of Stories End With Women Getting Punished For Having Sex Part Seven: Lesbian Death In The Bedroom And You"
- "Why Does The Black Slayer Have That Accent Also Why Does She Die?"
- "The Origin Story Of The Slayers Is What Now? Reprise: Say That Again About Sierra’s Origin Story Cause I Don’t Think I Heard You Quite Right.”
And of course, the hit classic,
- "You Know, When I First Watched This I Found It Empowering, But Looking Back That Was Just Because It Was All I Had: We Have To Go Begging For Scraps and That’s Why He’s Been Able To Seem So Progressive For So Long"
The hit classic!
From Lorde to Macklemore, it’s a sentiment that’s galling for its popularity: white artists need to stop using the wealth signifiers of rap music to gesture at their self-important “anti-consumerism.” What Allen misses as she washes rims in a kitchen decorated only with bottles of champagne is that it’s not anti-consumerism when it only targets one type of consumer.
Rap owns a unique history soundtracking the triumph of financial success in a country that long barred black Americans from that success. It shouldn’t be an opportunity for white artists to wax superior. Beyond poor taste, it’s the myopia of latent racism that’s more anxious about gold chains on a rapper than an Armani tie on a hedge fund analyst.
Similarly, Lily Allen’s response to sexist industry demands for thinness becomes entirely ineffectual when it lashes out against women who succeed despite those demands. Allen is not savily critiquing the world of Robin Thicke’s “Blurred Lines” and Miley Cyrus, she’s resentfully bemoaning not getting to enjoy the same success.
“Hard Out Here” is the opposite of Mileywave. Instead of using black women as props to further her career, Allen blames them for its stagnation. In full-sleeved dresses Allen mocks her inability to twerk amidst women of color in body suits who launch into exaggerated dance moves, licking their hands and then rubbing their crotch. Her older white male manager tries to get to her to mimic them. Meanwhile she sings, “Don’t need to shake my ass for you/‘Cause I’ve got a brain.” Cut to black women shaking their ass, so much for sisterly solidarity."
joss whedon, noted feminist who fired charisma carpenter for daring to be pregnant
joss whedon, white cishet male who decides that he gets to define feminism and rebrand it to make it more appealing to himself, while also erasing the entire history of feminism and ignoring the existence of the term womanist
joss whedon, making a speech about feminism whose only mention of a female is to dismiss her entirely
joss whedon, deciding that the biggest problem with feminism is in its name and not its history of being racist, transphobic, and homophobic
joss whedon, lacking all self-awareness when twisting a brilliant junot diaz quote about poc representation to mean representation for white cis females
joss whedon, trying to equate sexism and racism while completely ignoring that woc exist and can experience both at the same time
joss whedon saying equality is important!!!!! but not casting a single asian person in his show grounded in the fusion of asian - western culture and also equating reavers (literally referring to them as the monsters of the story) with the apache
wait hold up, ignore all that, i should just be super grateful to joss “what is privilege and intersectionality?” whedon for having the courage to speak over women on a continuous basis
Joss Whedon, accusing POC media of ripping off him when his most successful work to date bears mad damning similarities to non-Western film/animation predating his shiz by over a decade
For several decades, private agencies, including the International Planned Parenthood Federation, and the Puerto Rican government, with the support of federal funds, waged a crusade to sterilize Puerto Rican women. Women on the island were encouraged to agree to “la operación” by armies of public health workers who offered it at minimal or no cost.
The island-wide sterilization campaign was so successful that by 1968 more than one-third of the women of childbearing age in Puerto Rico had been sterilized, the highest percentage in the world at that time.
A similar effort on Indian reservations during the 1970s left more than 25 percent of Native American women infertile. In four Indian Health Service hospitals alone, doctors performed more than 3,000 sterilizations without adequate consent between 1973 and 1976. For small Indian tribes, this policy was literally genocidal. One physician reported that “[a]ll the pureblood women of the Kaw tribe of Oklahoma have now been sterilized. At the end of the generation the tribe will cease to exist.”"
The above quote though. My gut reaction is to cringe at the phrase “online activism” but when you really think about it everything these online communities provide — free information/literature sharing, community building, consciousness raising, and the free exchange of ideas and critiques are all (more within the self, more passive) forms of activism.
One of my favorite rebuttals of some asshat saying the usual “SJ blogs don’t even do anything because it’s not in real life” was when someone said "If it wasn’t for online activism, I’d still be calling women sluts and whores."
Early on in high school, I would slut shame, make racist jokes, etc. And now I’m a sociology major and I go to a women’s college and constantly read/think/write about intersectional feminism. So fuck anyone who thinks online social justice conversations and blogs don’t “do anything.”
Online activism has helped spread my truth and experience to the point where it’s changed white people’s minds about spending $30,000-$50,000 buying into a system that kidnaps children and sells them to their oppressors, boom
If you’re a boy writer, it’s a simple rule: you’ve gotta get used to the fact that you suck at writing women and that the worst women writer can write a better man than the best male writer can write a good woman. And it’s just the minimum. Because the thing about the sort of heteronormative masculine privilege, whether it’s in Santo Dommingo, or the United States, is you grow up your entire life being told that women aren’t human beings, and that women have no independent subjectivity. And because you grow up with this, it’s this huge surprise when you go to college and realize that, “Oh, women aren’t people who does my shit and fucks me.”
And I think that this a huge challenge for boys, because they want to pretend they can write girls. Every time I’m teaching boys to write, I read their women to them, and I’m like, “Yo, you think this is good writing?” These motherfuckers attack each other over cliche lines but they won’t attack each other over these toxic representations of women that they have inherited… their sexist shorthand, they think that is observation. They think that their sexist distortions are insight. And if you’re in a writing program and you say to a guy that their characters are sexist, this guy, it’s like you said they fucking love Hitler. They will fight tooth and nail because they want to preserve this really vicious sexism in the art because that is what they have been taught.
And I think the first step is to admit that you, because of your privilege, have a very distorted sense of women’s subjectivity. And without an enormous amount of assistance, you’re not even going to get a D. I think with male writers the most that you can hope for is a D with an occasional C thrown in. Where the average women writer, when she writes men, she gets a B right off the bat, because they spent their whole life being taught that men have a subjectivity. In fact, part of the whole feminism revolution was saying, “Me too, motherfuckers.” So women come with it built in because of the society.
It’s the same way when people write about race. If you didn’t grow up being a subaltern person in the United States, you might need help writing about race. Motherfuckers are like ‘I got a black boy friend,’ and their shit sounds like Klan Fiction 101.
The most toxic formulas in our cultures are not pass down in political practice, they’re pass down in mundane narratives. It’s our fiction where the toxic virus of sexism, racism, homophobia, where it passes from one generation to the next, and the average artist will kill you before they remove those poisons. And if you want to be a good artist, it means writing, really, about the world. And when you write cliches, whether they are sexist, racist, homophobic, classist, that is a fucking cliche. And motherfuckers will kill you for their cliches about x, but they want their cliches about their race, class, queerness. They want it in there because they feel lost without it. So for me, this has always been the great challenge.
As a writer, if you’re really trying to write something new, you must figure out, with the help of a community, how can you shed these fucking received formulas. They are received. You didn’t come up with them. And why we need fellow artists is because they help us stay on track. They tell you, “You know what? You’re a bit of a fucking homophobe.” You can’t write about the world with these simplistic distortions. They are cliches. People know art, always, because they are uncomfortable. Art discomforts. The trangressiveness of art has to deal with confronting people with the real. And sexism is a way to avoid the real, avoiding the reality of women. Homophobia is to avoid the real, the reality of queerness. All these things are the way we hide from encountering the real. But art, art is just about that."
Rickie Solinger, Beggars and Choosers: How the Politics of Choice Shapes Adoption, Abortion, and Welfare in the United States (via aragingquiet)
Erm, yes and no. It was never remotely “easy” obtaining babies for adoption — it took over a hundred years of extreme woman-hating, non-consensual institutionalization, and rabidly eugenicist programs on BOTH sides of the pond to ensure the mid-20th century American baby farming that generated so many white babies.
Crackers inevitably assume “no one wants nonwhite babies
except me!!!11” — when actually, us “orphans” of color weren’t widely available til adoption became codified as an industry. Sure it made profits even in the 50s, but these earlier incarnations placed far greater priority on a) punishing female sexuality and b) ethnocidal decimation of indigenous and Romani peoples. It took the West a while to get the hang of these two agendas AND make billions.
Regarding the U.S. specifically, wanna know the REAL reason why babies of color weren’t being adopted? Because WOC weren’t institutionalized in that baby farming system. Part of it had to do with segregation, but moreover Black communities did not so punish/coerce unwed mothers & their children as whites did. And it says a hell of a lot about whiteness in America that during the fucking ’50s it was POC who protected their “deviant” families compared to whites, who sold their own children en masse.
As for international adoption, prices are unreliable indicators of demand. Far more telling are the geopolitical schemes and evangelical missions to capitalize on war while neutralizing perceived threats to Western hegemony — ugh, but that’s another post.
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