#of just larger american culture

[separatist-apologist]

Oh I see! Wow okay so like did you or others don't feel bad about being kicked out and like having to leave your parents when at some point after parents are too old to not be able to take care of themselves then who takes care of them? I am sorry if I am being intrusive or weird but I am just curious as I said. I would love to know how this works since my mom was complaining about me and my sibling the other day saying Americans have one thing really cool they just kick their children out so no more dealing with kids after 18 and children sucking parents' blood and other shit. Anyway, if you're comfortable please tell us more 🙃

It's okay! I was upset when I was kicked out because I had to go and live with a friend and her parents and that made me sad. But I think very broadly speaking, the expectation is most kids move out when they graduate high school and either move into dorms for college or they get a job and live on their own/with roommates. I don't know anyone who feels sadness about it? It's a cultural expectation, so like, there is excitement around being independent and having your own space. And of course not all parents enforce this expectation and there are people who live at home longer- but I do think the older you get in your 20s and still living with your parents, it comes with a stigma of like, being lazy or a failure, if that makes sense?

American's also don't care for the elderly the way they do in other cultures. We have assisted living facilities you pay to care for your aging parents, or nurses that can go in and assist with day to day living if your parents can mostly live on their own. My grandparents still live on their own, and the only one who didn't was my grandfather who went to an assisted facility when he had alzhiemers and needed more specialized care.

I think its a trade off? If you can't live with your parents once you become a legal adult (or they expect you to pay rent to live there), then they shouldn't expect you to care for them when they age? It'll vary person to person of course, but I don't think I'd let my mom move in with me

[pastamic]

Was watching videos on this mob wife trend on tik Tok and I have a feeling we may encounter the phrase "Italian-fishing" in the near future

[thislittlekumquat]

Posts like this make me feel violent. Are you just mad because your depression era grandmothers weren't creative enough to make things out of nothing to feed huge families with such an enduring culture of family gatherings that we all think fondly of these hyper specific foods into the 21st century, whereas your sad coastal elitist families all hate each other? Have you looked at the ingredients list of a fucking smoothie at whole foods. Or a salad at sweetgreen. Sincerely fuck people who continue to shit on foods they've never even tried. Cry harder about how marshmallows aren't a major food group at your holiday dinners. Must be sad. Cry harder about how poor people with lots of mouths to feed should not feel shamed for making weird fun things out of a box of jello mix, a bag of marshmallows, and a can of fruit. Do you know how cheap these foods are? THESE ALSO ARE ACTUALLY GOOD REPRESENTATIVES OF THEIR CLASS. I would eat all of these except the one with red hots, but only bc I hate red hots.

[latinokaeya-moving]

last rb was just regarding commentary bc i actually don’t agree w the og post that much wrt ‘doggo’ culture or whatever at the very least where i live i don’t think it’s really become a whole Thing like that lmao but the rest of the convo i thought was interesting so

[celestial-kestrel]

It's that time of year again where Mari Lwyd starts to be talked about and shared around and an INCREDIBLY misleading post gets shared a lot. As someone who grew up with Mari Lwyd I wanted to clear some things up.

Also hello, if you are unaware who Mari Lwyd is. This is about the Welsh tradition of the horse skull who visits houses during the Christmas to New Years period in Wales asking for alcohol.

First off and probably the most important one:

Mari Lwyd is not a cryptid!

I can not emphasise this enough. She. Is. Not. A. Cryptid. There is no story or mystery about a ghost or zombie horse roaming the Welsh valleys. She's not even supposed to be a ghost or a zombie. It's just a horse skull on a stick with a guy under a sheet. She's a hobbyhorse and a folk character used to tell Welsh stories and keep songs alive. When people spread the misinformation that she's a cryptid, it's the equivalent of saying Kermit the Frog is a cryptid.

She is actually only one character in a wider cast of characters who go door to door or, in more modern times, pub to pub. The cast of characters can change town to town and village to village but there are some common ones I see time and time again. The Leader, the Merryman, The Jester and The Lady are just some I see regularly. Punch and Judy used to be more popular a few years ago but I haven't seen them in a while as their tradition has mostly fallen out of popularity. In most cases, almost the whole cast will be played by men. Even the characters are considered and referred to as female. Though this again depends and varies by which group is partaking in the Mari Lwyd tradition.

This point also goes onto my second point,

Mari Lwyd does not rap.

I think this comes from a very common misunderstanding of what rap is vs spoken word. Rap is a very specific style of music originating from the African American communities of the USA and has it's own structure and motifs unique to it. It's a lot more complex than people give it credit for as a style of music and just flippantly assign anything similar to it as being rap. If someone is talking fast or reciting poetry, it is not rap. Or anything that is an exchange of words between two people is not a rap battle. Mari Lwyd does not do rap, actually something that gets left out of these posts is the fact Mari Lwyd does not even speak. It's actually the Leader, who does all the speaking and song based banter between the house/pub owner for entry. Mari Lwyd just clicks her mouth, bites people and bobs her head around.

I think Mari Lwyd is a really beautiful and unique part of Welsh culture. She's not actually as wildly celebrated as a lot of the posts make her out to be. Actually, I think most Welsh people themselves learn about Mari Lwyd through the internet as well. Her popularity is increasing thanks to the drive of local groups wanting to keep the traditions alive and a renewed desire to document Welsh traditions before they're gone. Which is why it's such a shame that she's turned into something she's not to earn horror points on the internet. I think this is why it bothers me so much to see the misunderstandings of the culture and the folk tradition. Mari Lwyd's origin is very hot debated as well as how long it's been going on for. But I think it's thanks to a lot of traditions like this that the Welsh language and our stories weren't lost forever. Welsh culture is recovering as is the language. But it's still in a very fragile place. I think it's why it's important to document and correct information when it's spread.

Anyway, if you want to see the tradition in action, here's a lovely video from the Cwmafan RFC going to one of the pubs for charity. It includes the song exchange with the pub owner for entry and the whole pub singing and joining in once Mari Lwyd and the rest are inside.

As well with another video from St Fagan's showcasing the more traditional and door to door form with the larger cast.

[reanimatedgh0ul]

since dia de los muertos got mentioned on the tl yesterday bc of that dp post i rb i highly recommend listening to this podcast ep to learn more abt the history of how dia de los muertos and how it's actually been thoroughly bastardized in our modern day both in the u.s. and mexico and has strayed far away from the indigenous communities it originated from

[temptresstitania]

if it doesn't sound fetishistic to say you're attracted to people with long hair or freckles or wide hips or dark brown eyes that look almost black, then it shouldn't sound fetishistic to say you're attracted to fat people. If it's not inherently a fetish to say you like people with sculpted backs or toned arms or six packs or small breasts or a coke bottle figure, then why would it be fetishistic to like a soft face with a double chin, or a round stomach, or big legs rippling with cellulite or stretch marks on rolls. you can find a fat person attractive. you can love the way their cheeks press up to meet the corners of their eyes, or the way their arms look, or the way their love handles spill out of their clothes. you can just. like fat people. you can say you like fat people. do you ever think how strange it is? how someone may think you're some sort of "perverse" weirdo for just...liking a body? how strange it is to put these precursory disclaimers of "not to be weird, but", "I don't mean it in that way, but", "I'm not a chubby chaser, but", or "I know it's kind of problematic, but..." could you imagine if it was any other body?

"not to sound like a muscle gain fetishist, but I love women with athletic bodies. It might sound weird, but I love short kings. I don't mean it in a weird way, but I love girls with hip dips."

It would seem strange. unnecessary. one may even assume there is some sort of guilt or fear you're hiding because it's normal to have things you like. it's normal to find certain things cute, hot, sexy.

you can sexually desire fat people and enjoy that they are fat. you can do that.

also, if you genuinely have a fetish (or deep sexual attraction if u for whatever reason are uncomfortable with the word fetish) for something that is found on larger bodies (bellies, fupas, thighs, underarms with fat/breast tissue in them, sagging breasts, big arms with skin that wobbles, cankles), or for a bigger body in and of itself (because I know some of y'all still want to sever yourselves from this), there is nothing wrong with that. people have fetishes for hands and teeth and earlobes and kneecaps and butts and shoulders and calves. what makes their thing any more acceptable than yours? there is nothing wrong with being aroused by bigger bodies.

please do not add tags and reblog this with "except when such and such is involved". I am not bringing those situations up for a reason. do not attempt to pivot this post into a thinkpiece on the objectification and/or abuse of fat bodies, ESPECIALLY if you yourself are not fat.

this is coming from the perspective of a Black person. Namely, a Black Nigerian-American person. Where I come from, there is a cultural, pre-colonial practice of gaining weight (and yes, particularly getting fat) to accentuate beauty. my body was handed down to me lovingly by my ancestors. i love my fat.

and if you love it too, that's okay. ♡

[irawhiti]

while everyone's rightfully talking about oppenheimer and its flaws regarding the erasure of japanese and native american voices regarding nuclear testing and detonations, i'd like to bring up the fact that pacific islanders have also been severely impacted by nuclear testing under the pacific proving grounds, a name given by the US to a number of sites in the pacific that were designated for testing nuclear weapons after the second world war, at least 318 of which were dropped on our ancestral homes and people. i would like if more people talked about this.

important sections are bolded for ease of reading. i would appreciate this being reblogged since it's a bit alarming how few people know about this.

--

in 1946, the indigenous peoples of pikinni (the bikini atoll) were forcibly relocated off of their islands so that nuclear tests could be run on the atoll. at least 23 nuclear bombs were detonated on this inhabited island chain, including 20 hydrogen bombs. many pasifika were irreversibly irradiated, all of them were starved during multiple forced relocations, and the island chain is still unsafe to live on despite multiple cleanup attempts. there are several craters visible from space that were left on the atoll from nuclear testing.

the forced relocation was to several different small and previously uninhabited islands over several decades, none of which were able to sustain traditional lifestyles which directly lead to further starvation and loss of culture and identity. there is a reason that pacific islanders choose specific islands to inhabit including access to fresh water, food, shelter, cloth and fibre, climate, etc. and obviously none of these reasons were taken into account during the displacements.

200 pikinni were eventually moved back to the atoll in the 1970s but dangerous levels of strontium-90 were found in drinking water in 1978 and the inhabitants were found to have abnormally high levels of caesium-137 in their bodies.

--

i'm going to put the rest of this post under a readmore to improve the chances of this being reblogged by the general public. i would recommend you read the entirety of the post since it really isn't long and goes into detail about, say, entire islands being fully, utterly destroyed. like, wiped off of the map. without exaggeration, entire islands were disintegrated.

--

as i just mentioned, ānewetak (the eniwetok atoll) was bombed so violently that an entire island, āllokļap, was permanently and completely destroyed. an entire island. it's just GONE. the world's first hydrogen bomb was tested on this island. the crater is visibly larger than any of the islands next to it, more than a mile in diameter and roughly fifteen storeys deep. the hydrogen bomb released roughly 700 times the energy released during the bombing of hiroshima. this would, of course, be later outdone by other hydrogen bombs dropped on the pacific, reaching over 1000 times the energy released.

one attempt to clean up the waste on ānewetak was the construction of a large ~380ft dome, colloquially known as the tomb, on runit island. the island has been essentially turned into a nuclear waste dump where several other islands of ānewetak have moved irradiated soil to and, due to climate change, rising seawater is beginning to seep into the dome, causing nuclear waste to leak out. along with this, if a large typhoon were to hit the dome, there would be a catastrophic failure followed by a leak of nuclear waste into the surrounding land, drinking water, and ocean. the tomb was built haphazardly and quickly to cut costs.

hey, though, there's a plus side! the water in the lagoon and the soil surrounding the tomb is far more radioactive than the currently contained radioactive waste. a typhoon wouldn't cause (much) worse irradiation than the locals and ocean already currently experience, anyway! it's already gone to shit! and who cares, right, the only ""concern"" is that it will just further poison the drinking water of the locals with radioactive materials. this can just be handwaved off as a nonissue, i guess. /s

--

at least 36 bombs were detonated in the general vicinity of kiritimati (christmas island) and johnson atoll. while johnson atoll has seemingly never been inhabited by polynesians, kiritimati was used intermittently by polynesians (and later on, micronesians) for several hundred years. many islands in the pacific were inhabited seasonally and likewise many pacific islanders should be classified as nomadic but it has always been convenient for the goal of white supremacy and imperalism to claim that semi-inhabited areas are completely uninhabited, claimable pieces of terra nullius.

regardless of the current lack of inhabitants on these islands, the nuclear detonations have caused widespread ecological damage to otherwise delicate island ecosystems and have further spread nuclear fallout across the entirety of the pacific ocean.

--

while the marshall islands, micronesia, and the surrounding areas of melanesia and polynesia were (and still are) by far the worst affected by these atrocities, the entirety of the pacific has been irradiated to some extent due to ocean/wind currents freely spreading nuclear fallout through the water and air. all in all, at least 318 nuclear bombs were detonated across the pacific. i say "at least" because these are just the events that have been declassified and frankly? i wouldn't be shocked to find out they didn't stop there.

please don't leave the atomic destruction of the pacific out of this conversation. we've been displaced, irradiated, murdered, poisoned, and otherwise mass exterminated by nuclear testing on purpose and we are still suffering because of it. many of us have radiation poisoning, many of us have no safe ancestral home anymore. i cannot fucking state this enough, ISLANDS WERE DISINTEGRATED INTO NONEXISTENCE.

look, this isn't blaming people for not talking about us or knowing the extent of these issues, but it's... insidiously ironic that i haven't seen a single post that even mentions pacific islanders in a conversation about indigenous voices/voices of colour being ignored when it comes to nuclear tests and the devastation they've caused.

[she-toadmask]

Assignment: Freewrite about why you like a movie genre (at least 200 words)

Me, who barely consumes new media and almost never movies and just Likes Things:

[they-call-me-hippie]

I hate those baseless "Big Brand is covering up their bad business practices by doing a PR stunt!!" posts because 1. you're wrong and 2. you're wrong

[reasonsforhope]

Article Link

"Minnetonka first started selling its “Thunderbird” moccasins in 1965. Now, for the first time, they’ve been redesigned by a Native American designer.

It’s one step in the company’s larger work to deal with its history of cultural appropriation. The Minneapolis-based company launched in the 1940s as a small business making souvenirs for roadside gift shops in the region—including Native American-inspired moccasins, though the business wasn’t started or run by Native Americans. The moccasins soon became its biggest seller.

[Photo: Minnetonka]

Adrienne Benjamin, an Anishanaabe artist and community activist who became the company’s “reconciliation advisor,” was initially reluctant when a tribal elder approached her about meeting with the company. Other activists had dismissed the idea that the company would do the work to truly transform. But Benjamin agreed to the meeting, and the conversation convinced her to move forward.

“I sensed a genuine commitment to positive change,” she says. “They had really done their homework as far as understanding and acknowledging the wrong and the appropriation. I think they knew for a long time that things needed to get better, and they just weren’t sure what a first step was.”

Pictured: Lucie Skjefte and son Animikii [Photo: Minnetonka]

In 2020, Minnetonka publicly apologized “for having benefited from selling Native-inspired designs without directly honoring Native culture or communities.” It also said that it was actively recruiting Native Americans to work at the company, reexamining its branding, looking for Native-owned businesses to partner with, continuing to support Native American nonprofits, and that it planned to collaborate with Native American artists and designers.

Benjamin partnered with the company on the first collaboration, a collection of hand-beaded hats, and then recruited the Minneapolis-based designer Lucie Skjefte, a citizen of the Red Lake Nation, who designed the beadwork for another moccasin style and a pair of slippers for the brand. Skjefte says that she felt comfortable working with the company knowing that it had already done work with Benjamin on reconciliation. And she wasn’t a stranger to the brand. “Our grandmothers and our mothers would always look for moccasins in a clutch kind of situation where they didn’t have a pair ready and available to make on their own—then they would buy Minnetonka mocs and walk into a traditional pow wow and wear them,” she says. Her mother, she says, who passed away in 2019, would have been “immensely proud” that Skjefte’s design work was part of the moccasins—and on the new version of the Thunderbird moccasin, one of the company’s top-selling styles.

[Photo: Minnetonka]

“I started thinking about all of those stories, and what resonated with me visually,” Skjefte says. The redesign, she says, is much more detailed and authentic than the previous version. “Through the redesign and beading process, we are actively reclaiming and reconnecting our Animikii or Thunderbird motif with its Indigenous roots,” she says. Skjefte will earn royalties for the design, and Minnetonka will also separately donate a portion of the sale of each shoe to Mni Sota Fund, a nonprofit that helps Native Americans in Minnesota get training and capital for home ownership and entrepreneurship.

Some companies go a step farther—Manitobah Mukluks, based in Canada, has an Indigenous founder and more than half Indigenous staff. (While Minnetonka is actively recruiting more Native American workers, the company says that employees self-report race and it can’t share any data about its current number of Indigenous employees.) Beyond its own line of products, Manitobah also has an online Indigenous Market that features artists who earn 100% of the profit for their work.

White Bear Moccasins, a Native-owned-and-made brand in Montana, makes moccasins from bison hide. Each custom pair can take six to eight hours to make; the shoes cost hundreds of dollars, though they can also be repaired and last as long as a lifetime, says owner Shauna White Bear. In interviews, White Bear has said that she wants “to take our craft back,” from companies like Minnetonka. But she also told Fast Company that she doesn’t think that Minnetonka, as a family-owned business, should have to lose its livelihood now and stop making moccasins.

The situation is arguably different for other fashion brands that might use a Native American symbol—or rip off a Native American design completely—on a single product that could easily be taken off the market. Benjamin says that she has also worked with other companies that have discontinued products.

She sees five steps in the process of reconciliation. First, the person or company who did wrong has to acknowledge the wrong. Then they need to publicly apologize, begin to change behavior, start to rebuild trust, and then, eventually, the wronged party might take the step of forgiveness. Right now, she says, Minnetonka is in the third phase of behavior change. The brand plans to continue to collaborate with Native American designers.

The company can be an example to others on how to listen and build true relationships, Benjamin says. “I think that’s the only way that these relationships are going to get any better—people have to sit down and talk about it,” she says. “People have to be real. People have to apologize. They have to want to reconcile with people.”

The leadership at Minnetonka can also be allies in pushing other companies to do better. “My voice is important at the table as an Indigenous woman,” Benjamin says. “Lucie’s voice is important. But at tables where there’s a majority of people that aren’t Indigenous, sometimes those allies’ voices are more powerful in those spaces, because that means that they’ve signed on to what we’re saying. The power has signed on to moving forward and we agree with ‘Yes, this was wrong.’ That’s the stuff that’s going to change [things] right there.”"

-via FastCompany, February 7, 2024

[ftmtftm]

white guy thinks he knows about race lmao

I'm part of not one but two ethnic minorities that have either been successfully integrated into American Whiteness under White Supremacy (Irish) or are attempting to be integrated into American Whiteness under White Supremacy (Ashkenazi). I grew up in a homogenized White American Culture because my families were forced to assimilate into American Whiteness for their own safety under White Supremacy - and now I am reaping both the benefits of that and the loss of identity.

I say I'm White because I am - in that I benefit from White Supremacy and Racism, but I've also had my ethnicity and culture stolen and assimilated by the exact same forces at the exact same time.

Of course my perspectives will never be that of a Person of Color's, but I can absolutely put in work to understand my own place in a White Supremacist society both as someone who benefits from it and who has been negatively impacted by it, especially as a Jewish person - who is also absolutely still an actual direct target of White Supremacy along side People of Color.

This is also an issue I care deeply about because I come from a blended family - My sisters are mixed race Japanese American. They're constantly having their race and culture stripped from them and are often targets of not just anti-Asian racism, but also anti-Hispanic and anti-Native racism because they're not "stereotypically" East Asian and live in South Dakota. They come to me to talk about these issues regularly because we love and understand each other and the places we fit into in this larger conversation on Race and assimilation.

Activists of Color have been saying for decades that White People need to do the work to understand their own Whiteness and where that places them in our society. I have put in and continue to put in that work because it will never be over - what the hell do you do?

[queeranarchism]

Maybe this is a 'water is wet' statement, but: putting the Holocaust on a pedestal where it can never be compared to anything else doesn't just serve zionism, it serves the individual agendas of a lot of colonialist powers too because it ensures that their history of atrocities is never compared to the Holocaust and remembered in the way that our culture remembers the Holocaust.

The transatlantic slave trade? The deliberate British Great hunger in Ireland? The deliberate British Famines in India? The Holodomor? The multiple acts of ethnic cleansing and mass murders committed by the Netherlands in Indonesia and its other colonies? Leopold II's reign of terror in Congo? And countless others.

All of these exist in the relatively ignored field of 'lesser evils' and aren't remembered and used as national moral anchors in the way the Holocaust is. They're not at the center of our collective memory because this one great horror takes center stage and it is deemed morally unacceptable to place other horrors near it. The only exception I can think of is the US, where thanks to the endless hard work of African Americans, slavery is sort of kinda almost recognized in the collective consciousness as a second great horror. But it's still second fiddle and disputed, and meanwhile in the European countries that engineered the transatlantic slave trade and profited from it, the space it takes in the collective consciousness is tiny.

The Netherlands has over 70 World War 2 museums. It is yet to open its first museum about slavery and has no museums dedicated to it's other colonial atrocities. The budget of the national World War 2 commemoration is 35 times larger than that of the national slavery commemoration. Holocaust education is important, but something is out of whack here. And it's easy to see why colonial powers don't want to change that.

[taylortruther]

also re: the racial component of TS/fan base, if you haven't you should watch Alex Avila's video on Taylor Swift, I think it was really well done

this is SO good. thank you SO much for this recommendation.

i really liked how avila noted how masterfully taylor blends authenticity and social normativity - "the reason taylor swift seems so authentic to young girls is because she's conforming to an image [of white patriarchal girlhood] that young women internalized from a young age." similarly, the popular feminism of 2014 (when 1989 was released) was flimsy and did not challenge patriarchal norms, and we see how she made feminism part of 1989's branding.

and he asks a question i often pose: is there anything subversive in idolizing the most popular cultural object? does poptimism (the critique of pop music as a serious form of art) simply reinforce existing power structures??

taylor swift and whiteness

understanding how someone becomes a legend and icon means understanding how they challenge, but also reinforce, the biases in society, which includes race, class, gender, and so forth. and "there IS something deeply white about [taylor's] image" (1:18:33). her image is cultural whiteness! taylor swift's relatability (which is and has always been part of her brand), her social capital, her social normativity, is directly tied to the neoliberal racial philosophy that, instead of calling whiteness superior, establishes whiteness as the norm (1:21:23).

millennials want celebrities to be morally pure. this is a mistake.

also - LOVE that he points out that millennials don't judge female celebrities by their sexuality or modesty anymore, but instead they judge based on political awareness, which is just another way of continuing the "patriarchal history of regulating narratives around women's actions" (1:42:39). avila focuses specifically on millennials here, cautioning us not to consider this a a sign of true political engagement from millennials. as he points out, systems of oppression adapt to our ever-changing culture. when we try to 'cancel' or 'hold a celebrity accountable' for their ideologies or missteps, sometimes it's because they're truly terrible, and other times it's because we hold women to "unrealistic standards of purity." ie, this isn't necessarily real political engagement, it is just another example of judging women. often it's both (pointing out missteps, and also being sexist.)

whiteness again

avila goes on to discuss how white women have long been held up as virtuous, moral centers of american families - and while this is a racist and sexist practice, given that woc aren't seen as virtuous, it also lays the foundation for why white women in particular dominate conversations about politics in the public sphere. it is an Event every time a white celebrity frames their political awakening as a personal, spiritual journey of self-realization. yes, this act is important, because women must learn about their own oppression, and talk about it, in order to educate others.

but when taylor (or any other famous white woman) frames politics solely through the personal, it relieves her of the obligation to critique systemic issues. her own political awakening is all that matters - she must prove her own political purity (instead of sexual purity, as before.) there is a deep problem in society demanding this, rather than larger systemic change, but we'll get to that later.

this personal political purity awakening earns her a lot of goodwill, but her resistance ends with herself. and this is a pattern that we see happen all the time, in what robin james calls "neoliberal resistance discourses" in pop: someone is damaged by oppression (sexism), she overcomes it brilliantly with an awakening (miss americana/lover/denouncing trump era), and she absorbs this goodwill into her brand. these individual damages and awakenings supposedly symbolize society's own awakening and resilience(!). (1:52:48)

🚨 some readers might be getting tired/annoyed at this; i can hear y'all saying "well, what do you even WANT from her omg!!!" just stay with me here. 🚨

she holds a mirror up to society, tho

what avila so brilliantly points out is that... this cycle of damages and resilience isn't helpful. it goes nowhere! and we are all at the mercy of the same patterns as taylor. it's not about taylor, it's about us, and how capitalism commodifies everything, including social movements! including personal 'goodness'! a neoliberal system wants individuals to care about their individual choices and looking like good individuals; it encourages the use of "purity tests" and "commodified algorithmic social movements" to discourage challenges to systemic issues (reminds me of the celebrity blackout situation earlier this year, and conversations we have about politics, well, daily on here.) and the pattern of a person failing politically as an individual is part of this machine. if we're too busy policing individuals for their purity, we won't ever organize together for shared material goals. unfortunately, unlike taylor swift, most of us are not extremely powerful, wealthy, and influential as individuals. she does have more power than us in this regard.

taylor as cultural hegemony

anyway, avila goes on to talk about how taylor had this musical renaissance with folklore, and became more honest about her masterminding her own career in midnights. she has shown herself not just to be a musical chameleon, but a cultural one as well, positioning herself as white teenage purity when the culture called for it (circa 2008-2010), neoliberal pop feminism (1989 -> lover), pandemic escapism (folkmore) - and the culture has become part of her brand, part of her music. music that is already heavily wrapped up in her own life. she is the brand she is the culture. of course she put the work in, and not just anyone could do this. but imo, her whiteness (which, again, gives her this "default" "neutral" background to work with) is part of this success. "sure, she's challenged the institution but all in the effort to become the new face of musical hegemony" (2:06:25.) she challenges systems to assimilate into them, or create them in a way that requires assimilation.

of course, this is all based on her REAL experiences, her REAL life. she is living her own life, and also living it in this metacognitive way that mirrors culture.

but we don't have to hate taylor, actually!

and MOST interestingly, avila closes out by suggesting: it's not actually super healthy to always be suspicious and critical of art (2:17:24.) yes, there is a long political history of "paranoid reading," of critique based on marx, freud, and nietzsche's philosophies. it is the basis of A LOT of our frameworks for thinking about the world, including art.

as i've said before, it's interesting to discuss taylor or celebrities because they hold a mirror up to society. but we can't just relentlessly critique ourselves - after all, the critique is supposed to protect us from being bad! the critique is what keeps us good! and it's why we project so much onto them (the celebrities, or "bad" people.)

this video dove into a term that may be new to a lot of people (i only learned of it recently) - "reparative reading." rather than relentlessly critique art or what-have-you, engage with it in ways that is "affirmative, creative, and caring." this does not mean you toss out critical readings - reparative readings can coexist, and give us hope, optimism, feelings of beauty/appreciation, and affirmation.

for example, it's why -while i enjoy critiquing taylor (or what she Represents) - i am also here to just... have fun. i don't want to linger 24/7 on her emissions, or what she hasn't done, or who she's friends with. it's also why, as a fan of color, i hate that she is often dismissed and minimized to "white musician making music for white women." i find affirmation in a lot of her music, regardless of her race; i find optimism and hope in the way women so deeply relate to her, and how queer fans (also like myself) relate to her! (which avila points out too 2:21:00.) it's why i stopped debunking stuff, because queerness - like any other aspect of the fandom - is such a critical, significant part of why her music is beloved. it's so important for people to recognize that she is more than just 'music for straight white heterosexual cisgender women.'

[cerebralisis]

I decided to make my analysis of So High School into a separate post, because I can’t help but think of this song every time I see photos of Taylor at the games. And sure, it sounds like a love song on the surface until you remember that Taylor was bullied in high school and start to dig a little deeper. Feeling "so high school" is not something a 34 year old woman wants to feel.

Let’s look at the lyrics.

"I'm sinking, our fingers entwined, cheeks pink in the twinkling lights" = To me this sounds like drowning, embarrassment, and diving in with the sharks

"Tell me 'bout the first time you saw me" = You mean her first Chiefs appearance when they 'slid off in the getaway car' at the end? Nothing good starts in a getaway car, babes.

"I'll drink what you think and I'm high from smoking your jokes all damn night" = I mean...

“I'm watching American Pie with you on a Saturday night" = What do we know about this movie? We know that it is renowned for its high school immaturity and misogyny. It’s about a bunch of horny boneheaded men who treat women like sex objects instead of people. Sounds a lot like football culture to me.

"Your friends are around so be quiet. I'm trying to stifle my sighs." = I'm in the box with your friends and family. I need to hold it together so I don't offend them, but I legit hate this.

"Cause I feel so high school" = SHE HATES THIS.

"Bittersweet 16 suddenly" = I don't think she was a fan of high school, you guys.

"Are you gonna marry, kiss, or kill me? It's just a game but really, I'm betting on all 3." = A clear reference to that kiss/marry/kill interview with Travis, while also saying "we're gonna get together, put on a show for everyone, and I'm going to slowly die inside until we're done."

"Get my car door, isn't that sweet. Now pull me to the backseat" = All I hear with this is Movie Director Taylor giving instructions to her leading man so they can get a good reaction from the audience.

"You know how to ball, I know Aristotle." = You're a jock. I'm a nerd. We are not compatible.

"Touch me while your bros play grand theft auto." = The official song lyrics on Spotify put grand theft auto in lowercase the first time and capitalized the second time. The capitalized GTA could refer to Travis's friends playing the video game, sure. But also - you know who was arrested in August 2023 for grand theft auto? Bashaud Breeland, a cornerback for the Kansas City Chiefs who played with Travis in the 2020 Super Bowl.

"It's true, swear, Scout's Honor" = Look it up, I dare you.

And my absolute favorite:

"On the brink of a wrinkle in time" = This is TTPD, folks. Of course there's going to be a literary reference. A Wrinkle in Time by Madeleine L'Engle. The main character is a girl named Meg who is incredibly bright but struggles in school because she doesn't fit in with the other kids. After meeting a trio of badass witchy women, Meg travels to far-off worlds (a sort of deep portal time travel, you might say) where she joins the battle of light vs. darkness. What do we know about Taylor’s usage of light and darkness throughout her discography? It's giving… Reputation vs. Daylight? Shrouded in secrecy vs. out in the open? Based on everything else that Taylor has been hinting at through TTPD (not to mention Evermore and Midnights), it sounds like she is on the verge of diving into a much larger battle. And if I had to guess, I would bet that this battle will start during the Reputation re-release. Around Halloween. 🎃 When exile ends. Almost exactly 2 years after the Bejeweled music video was released. Maybe the old Taylor can't come to the phone right now cause she's dead?

I'm just speculating, but I will add that the 3rd book in the Time series is called A Swiftly Tilting Planet. There is a poem referenced through the book that goes like this:

With Ananda in this fateful hour, I place all Heaven with its power, And the sun with its brightness, And the snow with its whiteness, And the fire with all the strength it hath, And the lightning with its rapid wrath, And the winds with their swiftness along its path, And the sea with its deepness, And the rocks with their steepness, And the Earth with its starkness, All these I place with God's almighty help and grace between myself and the powers of darkness.

The word ‘Ananda’ mentioned above is the name of a character in the book, which is significant to the story because it’s a Sanskrit word that describes the eternal bliss that accompanies the ending of the rebirth cycle. If this series is what Taylor is referencing then it’s sounding more and more like she’s going to kill off Taylor TM and be done with the games, done with the reinvention. The plot summary of A Swiftly Tilting Planet says that it’s a book about "going back in time and changing might-have-beens." What decisions would she have made differently if she could do it all over again?

I don't know, friends. Take from this what you will. All I know is, this woman and all her brilliant duality is going to send me to a padded room. ✌🏻

[jeusussavearmyveteran1205]

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