Election 2016 Champ & Chump Chart

Here’s a quick look at where the 2016 presidential candidates stand on three of Planned Parenthood’s top issues.

Learn more here

Republican War on Women posts on Profeminist

“You’re a woman, of course you want children.”



No way.

No but seriously, being a woman does not mean that I do, or ever will, want to have children. Not all women choose their careers over children only to regret it later. Some women just do not want to be mothers. I don’t see how that is any of your concern. It’s not like there is a shortage of people in the world. And there are plenty of parents out there who really just should not have had children. A woman (or anyones) reproductive rights are none of your business.

animedot asked:

Why is it such a terrible thing to have a meninist? Why is a feminist ok but a meninist is not? Like what if I'm taking a stand for men's rights very seriously? I mean what's wrong with it? What's wrong with me taking up for my brothers, as a brother and meninist to stand up for what I believe in? What if I want innocent mean to stop going to jail for rape when it was consensual sex? Why am I wrong for taking a stand for what I believe in? Why is everyone whos a meninist wrong Are we past that

Hell yeah it’s awesome for men to support each other and discuss issues like the shaming of anything remotely feminine being present in men or supporting MOC and trans men and men who have been raped. If people have an issue with that then they’re the problem. However it’s not okay to be a meninist. One of the differences between feminism and meninism (and there’re are many) is why they were formed. Feminism was formed because of women’s want for equality whereas meninism was formed as a movement against feminism. Let’s also forget the “meninist movements” main focus is harassing people. Basically there are two types of people who take part in meninism: people who hate feminists or people who don’t understand what it is. I could go on a whole rant about how people don’t understand feminism but everyone has a different definition. Just ask your yourself this: would you rather partake in a movement that has a long history of working towards gender equality or a movement who is working against it?

[AGE OF ULTRON SPOILERS] I think we REALLY should talk about the whole “I was sterilized so I’m a monster” moment in Age of Ultron.

And the whole “I’ve been sterilized = I’m a monster” thing was REALLY REALLY gross. 

Because, yeah, ok, if you really look at the full context, as an assassin, she was forced into a horrifically invasive procedure against her will because her ability to kill was prioritized over any possibility of her having a future, and that could reasonably make her feel like she was a monster without any problematic aspects. Natasha was treated as a tool, a weapon, and her ability to KILL was placed above anything else- any desire she might have for a life outside of killing. And YES, all of that IS monstrous. 

BUT to represent that as “I can’t have kids therefor I’m a monster” has a lot of really…icky feelings attached to if that I’m having a hard time even working through. THE AbILITY TO HAvE CHiLDrEN NOR THE DESIRE TO IS NOT A MEASURE OF YOUR HUMANITY. 

A woman’s ability to have children has culturally been linked to her WORTH for centuries. If a woman is rendered infertile- through illness, through injury, through genetic chance, through CHOICE, society sees her as having LOST her value to society. That is DEEPLY sexist and horrible, and to see that view ECHOED here, whatever context surrounds it,  is unsettling.

There are other ways to establish that Natasha feels like her past with the KJB has made her a “monster”, that her actions as an assassin, the “Red in her ledger”, as still not redeemed, or indeed, not redeemable. 

I dunno. It was a really uncomfortable moment for me in the movie. I really disliked it.  On top of the other issues surrounding Natasha’s character in the film (That her entire character arc was romantic in nature, and that she was the member of the team who was kidnapped and needed to be rescued), it just…. :/ Not good.  

Did I still enjoy the movie OVERALL? Yes. But this moment was troubling. 

The Guerrilla Girls: 30 years of punking art world sexism

Emma Brockes meets the feminist art-punk pioneers behind the iconic protest posters. The Clark Kents of the art world explain why billionaires are their new target – and why it’s so hard to find a decent monkey mask these days

“It is 30 years since the Guerrilla Girls – a shifting collective of activists committed to exposing inequality in the art world – came into being, during which time a lot has changed, and a lot hasn’t. As they point out in their latest campaign, galleries that once showed only 10% women artists now show up to 20%. New York museums that, in 1985, gave no women artists a solo exhibition – including theGuggenheim, the Metropolitan and the Whitney – each gave a single woman a solo show last year.

“The Whitney museum says, ‘Isn’t it wonderful – we have 30% women in the new collection!’” says the activist known as Frida Kahlo. “And we’re saying, why is that something to be happy about – 30%? Where is the other 20?”

One thing that has categorically changed in the last three decades is that it has become harder to find good gorilla masks. We are in an art space on New York’s Lower East Side, where the three women sitting opposite me could be smiling, but who knows? Each is wearing a disguise she won’t take off for the entirety of the interview. (I brought doughnuts to the meeting, which none of the women can eat without removing their masks and revealing their identities. Such are the sacrifices they make for their art.) I don’t know their names, either. Each chose her pseudonym to celebrate a woman artist of the past – as well as Kahlo, there’s Käthe Kollwitz, named after a 19th-century German artist, and Zubeida Agha, for a modern Pakistani artist who died in 1997 – and the only way to distinguish them is by their voices and variations in the design of the masks.  

Over time, the stickers and posters used by the Guerrilla Girls in their campaigns have themselves became desirable artifacts. Tate Modern has the group’s artwork as part of its permanent collection. They have shown their protest materials at the Venice Biennale. The most famous of the posters, from 1989, is that of a female nude overlaid with a gorilla mask and the slogan “Do women have to be naked to get into the Met Museum?”, protesting the fact that while 5% of the artists shown there were women, 85% of the nudes were.

The aim of the new campaign, which will take the form, as usual, of stickers plastered all over posh New York neighbourhoods, is designed to highlight “overemphasis on money as the criterion for success in the art world,” says Kahlo. “Whenever you read about artists, a lot of the coverage has to do with how rich they are, how much their work sells for, which wealthy people in the world have them. No one is looking at the system and saying: is this the way culture is produced?”

The group’s fundamental mission is still to expose sexism and racism in the art world and, while the language might have changed over the years (“Become more coded,” says Kahlo), the underlying discrimination hasn’t. A gallery owner once said to Kollwitz, “women and artists of colour are just not making work that addresses the dialogue”, by which she understood them to mean, “I can’t make billions of dollars from women artists. So I’ll pick up this young white guy.”

And while museums and galleries have changed the makeup of their exhibitors slightly, “it’s a certain kind of tokenism,” says Kahlo, “where once institutions realised they had a problem with diversity, they would show one woman artist and one artist of colour, and think that was taken care of. So it was pretty interesting to convince people that was not a solution, that was just a continuation.”

The Guerrilla Girls’ protests were data-driven before data became a thing, and over the years they have broadened their remit to encompass inequities in Hollywood and the theatre. What they hope, ultimately, is that their work suggests an alternative to the way things are currently done.”

Read the full piece here

Photo:  George Lange

Has anyone thought that maybe the reason Natasha said she felt like a monster because she can’t bear children is because she really wanted to? Like, did you see the way she acted with Hawkeyes kids. Wanting children does not make you weak. It also doesn’t make you any less of a feminist. I will argue to my grave that Natasha was every bit as strong and badass as she has been in every other movie. So, she had a love interest? So she’s a normal character like Iron Man, Thor, and Hawkeye. Oh, but she’s a woman so she obviously can’t have a love interest without being seen as weak. Pathetic. You guys are part of the problem.

Natasha is and always will be a strong, badass character.

I am not a shipper; I have no horse in this race. If Natasha acted this way with any other Avengers, I would be just as furious. It isn’t that it is Bruce with whom she has a relationship, it’s that all she does in the entire film is pine. In Age of Ultron, Natasha essentially became the stand-in for any two-dimensional female in a standard superhero romance. “Girl becomes infatuated, obsessed even, with a boy who is nice but dangerous, and the boy decides they can’t be together because he has to protect her.” That relationship sure sounds familiar, because we have seen it dozens of times. Bruce even got the stereotypical rescue scene, after Natasha was kidnapped by Ultron for no reason than to facilitate Bruce saving her. Because the Black Widow we have seen up until this movie would wait around in a cage for someone — man or not — to come and save her. Right.

Phyllis Latour Doyle

From “A Mighty Girl” on Facebook: Source

Why She Kicks Ass:

At age 23, British secret agent Phyllis Latour Doyle parachuted into occupied Normandy in May 1944 to gather intelligence on Nazi positions in preparation for D-Day. As an agent for the British Special Operations Executive (SOE), Doyle secretly relayed 135 coded messages to the British military before France’s liberation in August. For seventy years, her contributions to the war effort have been largely unheralded but, last week, the 93-year-old was finally given her due when she was awarded France’s highest honor, the Chevalier of the Legion of Honour.

Doyle first joined the Women’s Auxiliary Air Force at age 20 in 1941 to work as a flight mechanic but SOE recruiters spotted her potential and offered her a job as a spy. A close family friend, her godmother’s father who she viewed as her grandfather, had been shot by the Nazis and she was eager to support the war effort however she could. Doyle immediately accepted the SOE’s offer and began an intensive training program. In addition to learning about encryption and surveillance, trainees also had to pass grueling physical tests. Doyle described how they were taught by a cat burglar who had been released from jail on “how to get in a high window, and down drain pipes, how to climb over roofs without being caught.”

She first deployed to Aquitaine in Vichy France where she worked for a year as a spy using the codename Genevieve. Her most dangerous mission, however, began on May 1, 1944 when she jumped out of a US Air Force bomber and landed behind enemy lines in Nazi-occupied Normandy. Using the codename Paulette, she posed as a poor teenage French girl. Doyle used a bicycle to tour the region, often under the guise of selling soap, and passed information to the British on Nazi positions using coded messages. In an interview with the New Zealand Army News magazine, she described how risky the mission, noting that “The men who had been sent just before me were caught and executed. I was told I was chosen for that area (of France) because I would arouse less suspicion.”

She also explained how she concealed her codes: “I always carried knitting because my codes were on a piece of silk – I had about 2000 I could use. When I used a code I would just pinprick it to indicate it had gone. I wrapped the piece of silk around a knitting needle and put it in a flat shoe lace which I used to tie my hair up.” Coded messages took a half an hour to send and the Germans could identify where a signal was sent from in an hour and a half so Doyle moved constantly to avoid detection. At times, she stayed with Allied sympathizers but often she had to sleep in forests and forage for food.
During her months in Normandy, Doyle sent 135 secret messages – invaluable information on Nazi troop positions that was used to help Allied forces prepare for the Normandy landing on D-Day and during the subsequent military campaign. Doyle continued her mission until France’s liberation in August 1944.

Following the war, Doyle eventually settled in New Zealand where she raised four children. It was only in the past 15 years that she told them about her career as a spy. In presenting the Chevalier of the Legion of Honour to Doyle last week, French Ambassador Laurent Contini commended her courage during the war, stating: “I have deep admiration for her bravery and it will be with great honor that I will present her with the award of Chevalier de l’Ordre National de la Légion d’Honneur, France’s highest decoration.”
To read more about Phyllis Latour Doyle’s incredible story, visit The Telegraph at http://bit.ly/1I1nvi2

The stories of women heroes of WWII are unfortunately rarely told but an incredible recent book makes it easy to introduce a new generation to these extraordinary women: “Women Heroes of World War II: 26 Stories of Espionage, Sabotage, Resistance, and Rescue,” recommended for ages 13 and up, at http://www.amightygirl.com/women-heroes-of-world-war-ii
A complementary book telling the stories of heroic women of WWI was also just released: “Women Heroes of World War I: 16 Remarkable Resisters, Soldiers, Spies, and Medics” at
http://www.amightygirl.com/women-heroes-of-world-war-i  To browse our entire collection of stories of girls and women living through the WWII period, including numerous stories related to the Holocaust, visit our “WWII / Holocaust” section at http://www.amightygirl.com/books/history-biography/history-world?cat=186

Forbidden from riding bikes, fearless Afghan girls are skateboarding around Kabul

“Australian skateboarder Oliver Percovich created the non-profit Skateistan in 2007, a grassroots project that connects youth and education through skateboarding in Afghanistan. The organization, which has since grown to an award-winning international NGO, caught the attention of London-based photographer Jessica Fulford-Dobson and inspired her to visit the program in Kabul in 2012—especially after learning 45% of the students were female.

In Afghanistan, skateboarding has spread to become the number one sport for women, as they are forbidden to ride bicycles. Soon after arriving and entering the girl’s world, Fulford-Dobson was accepted by the young Afghan skateboarders. She photographed the girls with natural light, helping to expose their personalities through simple portraits. Within the images you can see the girls’ natural confidence, images that capture the subjects both posed and candidly skating through the indoor facility.

“I met so many impressive women and girls in Afghanistan: a teacher as tough and determined as any man; young Afghans in their early twenties who were volunteering at an orphanage and were passionate about being seen as strong and willing to fight for themselves, rather than as victims of circumstance; and girls who were being educated to be leaders in their communities and who were already thinking carefully about their own and their country’s future,” said Fulford-Dobson.

Fulford-Dobson won second prize in the 2014 Taylor Wessing Photographic Portrait Prize with Skate Girl, 2014 (one of the photographs taken while on location in Kabul). You can donate to Skateistan’s program in Kabul as well as other cities here.” 

See more awesome photos and a video of the girls here