June is Pride Month! Celebrate with Notable Queer Folk from History
Marsha P. Johnson was a gay liberation activist and a muse to Andy Warhol and the NYC Art Scene. A popular street queen, she was present at the Stonewall Police Riots, and later formed the Street Transvestite Action Revolutionaries (STAR) with her friend and fellow queer activist Sylvia Riveria in 1970. STAR was dedicated to the LGBTQIA+ youth, namely of color, who populated NYC’s streets, with STAR House acting as a shelter for many a queer folk. Marsha continued her activism organizing with ACT UP! against the AID’s epidemic. In 1992, ten days after appearing for an interview for the titular documentary ‘
Pay it No Mind: The Life and Times of Marsha P. Johnson
’, Marsha was found deceased in the Hudson River. Though ruled a suicide, many still question the possibility of hate-motivated violence, and her memory remains present in annual Trans Day of Remembrance (TDOR) memorials. (Source: Wiki)
Hal Fischer began photographing the subtle codes employed throughout San Francisco’s gay community in February 1977. Fischer observed this semiotic system first hand while living in the Castro Street and Haight Ashbury neighborhoods. As his series on gay male signifiers progressed, the photographer expanded the scope of his project to include a wider view of the gay experience, resulting in an exhibition and publication of Gay Semiotics ♂ in 1977.
Hal Fischer successfully illustrated a pocket manual for traversing the gay community in the Castro of San Francisco in the 1970s and published an ethnography of sorts. He produced a resource with explanatory captions and narratives that sheds light on the marginalized group during the rise of the gay liberation movement, a group who pushed for heightened visibility at the time. He divided the book into sections: signifiers, essay, archetypal media images, fetishes and street fashions providing a taste of various components of gay society at the time.
DIY LOVE: Queer Knowledge & History Then, Now, and Forever
DIY LOVE is a free wheatpasting workshop for all ages at Pride Toronto’s 2017 Streetfair in celebration of LGBTQ2S+ activist knowledge, facilitated by a collective of LGBTQ2S+ artists, designers, writers, and curators. Participants will have the opportunity to make posters and use original posters made for this installation to create a wheatpasted wall that celebrates queer knowledge and history, which will be on display at multiple sites across Toronto after the Pride festival. Come talk and create with us!
Located at Pride Toronto 2017′s Streetfair on Church Street, June 23, 2017 (7:00 pm to 9:00pm), June 24 & 25, 2017 (12:00pm to 6:00pm).
The project is supported by OCAD University, Xpace Cultural Centre, and Toronto’s larger LGBTQ2S+ community.
“My style is like a multiple personality disorder, I try on many indenties. I’m inspired by excess, Italian glam, Catholicism and art history. I love early Dolce and Gabbana, Dsquared, John Galliano, Dior and Christian Lacroix. I’m often influenced by Absolutely Fabulous, Queer as Folk and Sex and the City.”
Bucky Barnes made a name for himself as the attorney who could get anyone off, but he still lives by the saying, “Innocent until proven guilty.” Steve Rogers finds himself on trial for multiple homicide but he swears he was only trying to protect a girl. Bucky’s been in this business long enough to know when someone’s innocent, and Steve is innocent. America calls for Steve’s head while Bucky calls for justice. Steve already feels like a monster and Bucky’s worried this guy’s going to lay himself on the sword come his trial. So Bucky offers up another course for punishment.
Newly divorced single dad Steve Rogers moves his kids from the suburbs to Brooklyn to start their new life together, and becomes captivated by the young man who works at the coffee shop downstairs from Steve’s apartment.
Bucky Barnes is 25 years old, working part-time in a coffee shop and still living with his mom. When a handsome single dad in a pinch offers Bucky a job as his nanny, Bucky takes him up on it.
They’ve decided to start producing Bucky Bears again, now that he’s all shiny and redeemed and fighting for good on this big Avengers misfits team. “He has a little shiny gray arm,” Bucky says, wiggling the stuffed arm in question, one of the tweaks made in the new model. It takes Steve a second to realize that Bucky’s got a small smile on his face, actually looks a little bit proud around the eyes.
Or, Bucky relearns himself and how to be on a team, the rest of the Avengers try to get answers, and everyone watches too much Criminal Minds.
I love you like rlb has become a well-known, accepted and valuable component of American vernacular. The meaning of the letters ‘rlb’ is unknown, but is uniformly considered to be a statement of a great romantic love, commitment and sacrifice.
It was Dernier as first said it. Steve never imagined that something like that could have survived the war and all the years in between.
In which Tony goes insane trying to figure out why that phrase affects the Cap so much, Bucky teases the press, and Steve and Bucky love each other like rlb.
That is not her brothers. Sure Stevie is small, only a few inches taller than her, but that’s because he’s been sick so often. And, alright, Bucky could be a bit of a dandy, always fussing about looking his best, but he ain’t no queen.
So then why were they kissing like queers? It isn’t the first time neither. She’s seen first kisses, and she’s seen people that are going steady kiss, and she’s seen husbands and wives kiss.
Bucky and Stevie kiss like husbands and wives kiss.
A life is made up of memories, both the good and the bad. These are Rebecca Barnes’ memories. This is her life.
Magical Realism AU where demons exist and Steven was an angel lured to Lucifer’s side in the war in Heaven. After the war, they threw him down into Hell, no longer an angel, but a demon.
Some humans know demons exist, summoning them out of Hell to use as weapons. Desperate to escape Hell, Steven answers a summons only to find himself bound to serve HYDRA. When they send him to possess Agent Peggy Carter, the encounter doesn’t go as HYDRA expects and Steven is set free to roam the earth.
Sixty years later, frantic to escape another summons, willing to do anything to stay unbound, he takes refuge inside the killer sent to slaughter the summoner. The killer has a metal arm and a mind like broken glass and Steven soon discovers he isn’t the only one hiding inside of it: he finds the man the killer’s body belongs to. Fragile and lost, the more Steven seeks him out the stronger he becomes, until the day he remembers his name: Bucky. Determined to protect him, Steven will do everything in his power to set him free and keep him that way.
(Chronologically, this stretches from before Captain America: First Avenger to a year or so before the first Avengers movie but has spoilers for Civil War.)
[Excerpt from the speech of chief curator Virginia M. Mecklenburg at the opening banquet of the “Captain Steven Rogers: A History Through Art” Exhibit at the Smithsonian Museum of Natural History, January 5, 2012]
“Welcome to the Smithsonian Museum of Natural History. It is my pleasure to introduce to you all an exhibit that has been many years in the making. So rarely are we presented with opportunities to join art and history in a union as perfect as this one. Though Captain Steven Rogers sacrificed his life for our country more than sixty years ago, his legacy lives on in history books, documentaries, independent films, and now, thanks to our generous donors, in galleries as well. His artwork provides us with a singular perspective of pre-war American society, as well as a unique window into the soul of the American hero himself….“
Or, the life of Steve Rogers as told by biographers, art historians, tumblr users, a very enthusiastically queer college student, and the artwork of Steve Rogers himself. [Art included]
In 1916, Bucky’s mother arrived in New York with her father, the future owner of one of the most popular speakeasies in Brooklyn. In 1927, Bucky met Steve Rogers and realised there was a world beyond that of favoured son and the clean streets of his neighbourhood.
After a long war between their two kingdoms, Prince James of Ireland is promised in marriage to King Alexander of Cornwall. To ensure peace he’s willing to sacrifice his happiness, but his resolve is tested when he and Steve are reunited after many years apart.
in the past I've seen you criticise bands for being 'politically correct' e.g. Crystal Castles. Could you elaborate on that? I don't fully understand what's meant by 'political correctness' but do you mean music with racist/misogynistic/homophobic/ableist lyrics (like the way Big Black use 'fag' despite being straight?) I think they're harmful no matter whether the intention is to shock people or not. I'm just wondering if you have this opinion, why?
i think political correctness is largely a moral relief of privileged people to mask the real horrors of neoliberalism: it also creates a morally superior ‘intelligentsia’ language that is ideologically charged and sanctifies values like hygiene, politeness, cleanness which are typical bourgeois values - we see the damning of the word ‘bitch’, which is an ideological attack against women who have been labeled by that word and proudly carry it so. we see the damning of words like ‘ghetto’ being associated with black culture which is an ideological attack against culture itself. we see a street culture, an underground culture made of whores (in the literal sense of the word), pimps, brats, queers and instead of empowering those who have been labeled with those with owning and subverting those terms, we replace that richness with our clean, morally superior, ‘high’ intelligentsia culture… (and you don’t have to swallow the premise of political correctness to not use n… word/r… word/being a racist ableist sexist asshole - just being a decent person who can grasp concepts like history is already enough for that.)
now, moving into arts - subversive art cannot be politically correct. it can and should be anti-racist/anti-sexist, but art does not manage them the same way as speech or text does. in art, i think, it is all about form and context supporting each other if we want to create a revolutionary piece. if your music depicts ugliness, your lyrics will. if your music is anti-traditional and disturbing your lyrics should be. a power electronics song with a hitler speech sample is not racist - power electronics is revolting and horrible to listen to, it gives off the feeling of discomfort and discipline in its purest form. on the contrary, it’d be racist if it was about some ‘politically correct’ topic, because it’d cause association of the discomfort caused by music to those themes. and similarly, you cannot make a revolt themed song ifyour music is traditional and sleep inducing. if your form fits the context, you are good to go. crystal castles lost their entire subversiveness with III and moved to politically correct statements to defend their music and enhance their fame, because there was nothing that was eye opening or disturbing or experimental by them anymore, that is no coincidence.