…which is really sweet. But the closest he’s come to feminist theory are his interactions with the dozens of strong black women that he works with at the City Of Atlanta water department.

So this is the sort of email forward that floods my inbox on a daily basis:

If only every parable had such a sassy ending.

wellingtonyoungfeminists:

“You have to question a cinematic culture which preaches artistic expression, and yet would support a decision that is clearly a product of a patriarchy-dominant society, which tries to control how women are depicted on screen. The MPAA is okay supporting scenes that portray women in scenarios of sexual torture and violence for entertainment purposes, but they are trying to force us to look away from a scene that shows a woman in a sexual scenario, which is both complicit and complex. It’s misogynistic in nature to try and control a woman’s sexual presentation of self. I consider this an issue that is bigger than this film. … There is something very distorted about this reality that they’ve created, which is that it is OK to torture women on screen. Any kind of violence towards women in a sexual scenario is fine. But give a woman pleasure? No way. Not a chance. That’s pornography.”

— Ryan Gosling, in a letter protesting the NC-17 rating of ‘Blue Valentine’. The rating was based on one consensual sex scene, in which he performs cunnilingus on Michelle Williams. (via agarfields)

Found these little gems at the front of Pittsburgh’s Barnes & Noble’s children’s section. Here’s the first page of each.

I think I speak for all women when I say we are THRILLED that society is finally starting to take floristry seriously!

Killing Us Softly 4: Advertising’s Image of Women (2010)

with Jean Kilbourne

Some quotes from The Beauty Myth:

The affluent, educated, liberated women of the First World, who can enjoy freedoms unavailable to any women ever before, do not feel as free as they want to… Many are ashamed to admit that such trivial concerns—to do with physical appearance, bodies, faces, hair clothes—matter so much. But in spite of shame, guilt, and denial, more and more women are wondering if it isn’t that they are entirely neurotic and alone but rather that something important is indeed at stake that has to do with the relationship between female liberation and female beauty… there is a secret “underlife” poisoning our freedom; infused with notions of beauty, it is a dark vein of self-hatred, physical obsessions, terror of aging, and dread of lost control. (9-10)

…we deserve the choice to do whatever we want with our faces and bodies without being punished by an ideology that is using attitudes, economic pressure, and even legal judgments regarding women’s appearance to undermine us psychologically and politically. (1)

“Beauty” is a currency system like the gold standard… In assigning value to women in a vertical hierarchy according to a culturally imposed physical standard, it is an expression of power relations in which women must unnaturally compete for resources that men have appropriated for themselves. (12)

A woman wins by giving herself and other women permission—to eat; to be sexual; to age; to wear overalls, a paste tiara, a Balenciaga gown, a second-hand opera cloak, or conbat boots; to cover up or to go practically naked; to do whatever we choose in following—or ignoring—our own aesthetic. A woman wins when she feels that what each woman does with her own body—unforced, uncoerced—is her own business. (290)

How might women act beyond the myth? Who can say? Maybe we will let our bodies wax and wane, enjoying the variations on a theme, and avoid pain because when something hurts us it begins to look ugly to us… Maybe the less pain women inflict on our bodies, the more beautiful our bodies will look to us. Perhaps we will forget to elicit admiration from strangers, and find that we don’t miss it; perhaps we will await our older faces with anticipation, and be unable to see our bodies as a mass of imperfections… Maybe we won’t want to be the “after” anymore. (291)