feminine attire

Marco Diaz Is (Not) Cis Male Masterpost


So this is my Masterpost detailing all the evidence that points towards Marco Diaz of “Star Vs The Forces of Evil” being cis male and debunking that evidence. If I have missed out any evidence please let me know.

(Right now I am binge watching through the episodes again to collect this evidence so if an episode isn’t up yet I haven’t reached it)

Disclaimer: For those who believe Marco is cis male, you are fine to keep believing that and I am not trying to change your mind. This is largely for those who take some sort of weird offence to the Trans Marco Theory and purposely go out of their way to attack it. If you wish to partake in some polite discourse over the theories I am happy to do so and after we can go our own separate ways believing what we wish.

Enjoy :)

Keep reading

Work From Home (TG/AP)

              Jenny was stressed out. She was a single mother working a full time job at a corporate office, and her boss was constantly flirting with her. He wasn’t ugly or anything, but she just wasn’t ready for another relationship after her old boyfriend left her. Her son, Jake, was thankfully old enough now to stay home alone after he walked home from school. It was nearing the end of the workday when Jenny received an email about a rush assignment she had to take care of. She sighed as the read the assignment, knowing that this would take a few hours at least and that she would be leaving work late again. She put her face into her palms and thought about what her son was doing right now. He was probably sitting in the living room and watching cartoons. She missed the days where she could do nothing but read and watch TV all day. Thinking about how much she just wanted to be home, she whispered, “I wish I was Jake right now.” She felt a cool breeze rush through her office as she uttered the words. Suddenly, a bright flash blinded her, and when she regained her vision she was sitting in her living room with cartoons on the TV.

              Jake was taken aback by the flash of light. One second, he was watching Cartoon Network in his living room, the next he was in an office, staring at a computer monitor with some emails and a spreadsheet open. He looked at the rest of the desk and saw a nameplate with his mother’s name on it. Realizing he was in his mom’s office, he was about to pick up the phone and try calling her cell, but as he reached forward he felt his bones pop and snap as his arm lurched forward, growing at an incredible rate. The changes ran down his arm and spread to the rest of his body, aging him by about 16 years in a matter of seconds. He sat up in the chair, shocked by his sudden growth spurt. With another crack, his hips jutted outwards to childbearing proportions. He looked down at his clothes as they began to morph from jeans and a t-shirt to a feminine business attire. A nice black top covered a button down shirt while his jeans retracted up his legs, becoming a tight, black business skirt. He felt a tingling in his groin as his boxers tightened into a purple thong, squeezing his member and causing him to squirm in the seat. With a sudden slurp, he felt his member retract into his body, relieving the pressure on his groin and leaving him with a strange feeling opening between his legs. He felt a weird gurgling come from his stomach as his organs shifted around, making room for a rapidly maturing female reproductive system. He looked down at his crotch and lifted up his new skirt, revealing the purple thong hugging his tight new clit. Curious, he reached up his skirt and poked his new sex, quivering as it sent unknown pleasures though his body.

              “Whoa, w- what’s happening to me?” Jake said, noticing how much his voice sounded like his mother’s. He looked up at the desk and saw a picture of himself standing with his mom and realized that his mom always wore the same outfit to work. The clothes he was wearing now were his mother’s. He began to panic at the realization, only to feel his ass begin to inflate. His growing butt cheeks swallowed up the thong and made the skirt even tighter. He squeezed a cheek, briefly admiring how supple it was, before regaining his mindset and standing up. He was about to run for the door and try to find someone to help him, but a sudden tingling on his chest stopped him in his tracks. His nipples were suddenly rubbing against a silk bra that materialized beneath his shirt, sending alien sensations through his maturing body. His new ovaries suddenly released a flood of hormones into his body, causing him to shoot through puberty as two massive breasts began to fill his bra. His spine cracked inwards, giving him a feminine arch and helping him balance the new weight hanging off his chest. He moaned reluctantly, disturbed by the sounds of his mother’s moans coming out of his mouth. He looked down at his new cleavage and wanted to cry. He didn’t want to be his mom, but everything about this body felt so good. He began to feel a wetness growing in his panties as the hormones continued to flood his body. He looked back at the picture of him and his mother when he noticed some strands of blonde hair tumbling into his vision. He brushed his hair back instinctively, shaping it behind his ears as it grew past his neck. His face cracked and softened, and without needing a mirror, Jake knew that his physical transformation was now complete. Trying to remain as calm as possible, he grabbed his mom’s purse and began to look for her cell phone. He noticed her wallet and saw her driver’s license poking out of it. He picked it up and stared at it, looking at the picture of his mother and realizing that it was him now. New memories began to enter his mind the longer he stared at it, like the memory of taking the driving test to get the license, then waiting in line for hours at the DMV to renew it. Jake quickly threw the purse down, realizing that it was changing him mentally. He didn’t know what to do. The thought of having his mother’s mind terrified him. He was a boy, a kid, and he didn’t want to be an adult yet, let alone a woman. Suddenly, he heard a knock on the office door. A middle-aged man walked in, and Jake immediately knew that it was his mother’s boss. Jake stared at him, noticing his sharp facial structure and the lightly greying hair on his head. Jake didn’t want to, but he couldn’t help imagining what this man looked like with his shirt off. Jake blushed and looked away, trying not to make eye contact with him.

              “Hey, Jenny. Looks like it’s just you and me tonight.” He spoke with a deep, commanding voice. Jake felt the wetness in his crotch intensifying against his will. He felt his heart beginning to beat faster, but he didn’t know why.

              “Umm…yep.” Jake said nervously. “I should, uh, get back to work.”

              “What’s the rush? Nobody is going to check in on us. Plus, I see the way you’ve been staring at me, and I know you’ve seen me staring at you.”

              “I don’t know wha- what you’re t-talking about.” Jake was growing more nervous by the second.

              “Come on, Jenny. You’ve already blown me, and I hope you haven’t forgotten that time I fingered you at the office party.”

              “What’re you -oooh,” Jake began to feel woozy as more memories entered his mind. Images flashed of him kneeling and sucking this man’s cock, and memories of this man fingering him sent shivers up his spine. Jake was disgusted with himself, but the pleasure that came with these new memories were causing him to feel weird. Suddenly, he felt a desire to unzip this guy’s pants and shove his cock into his mouth. The muscle memory of giving a blowjob forced its way into his head, as did the need to satisfy his dripping pussy. He wanted to fight it, but the hormones flooding his body continued to rewrite his personality. He began to sweat as he thought about this handsome man, his boss, fucking him right in this office.

              “I see it on your face, Jenny. You want this as bad as I do.” The man unzipped his pants and Jake watched in awe as his cock grew stiff.

              “I don’t think you- I’m not who you think- whoa!” Jake screamed as the man grabbed him and threw him against the wall. He reached around and began to undress Jake, teasing his sensitive breasts and causing him to cry a bit. He knew this was wrong, but it felt so good. The rougher this man was, the more Jake liked it. He began to moan as the man teased his clit with his fingers. With an aggressive motion, the man tore off Jake’s skirt and plunged his dick into Jake’s soaking pussy. Jake screamed, lost in ecstasy as his new sex was filled. He thought of his mother as the man continued to pound him, losing focus on his old self and letting the thoughts of his mother take over. His entire life was now hers, and with each thrust Jake’s memories became one of his mother’s.

              “Oh, Jenny, I’ve waited so long for this!” the man said between grunts. That name echoed through Jake’s mind, forcing the name Jake to the back. She was Jenny, and Jake was her son.

              “Me too! You feel amazing…holy shit!” Jenny moaned, pressed up against the office wall. “Oh, ooh, OOOOOOOH!” She screamed as she came. He grunted in pleasure at the same time, shooting his load into her and squeezing her breasts. She looked down and breathed deeply, watching the juices run down her thighs. “That was amazing. I can’t believe we waiting this long.”

              “I know, but let’s keep this a secret, okay? People around the office will get suspicious if they know you’re fucking your boss,” the man said with a wink. “How’s a raise sound, though? You could buy your son something nice.”

              “Sounds great,” Jenny said, buttoning her top. “I guess I’ll see you tomorrow night then?”

              “You bet,” he said as he walked out, closing the door behind him. She looked over herself and smiled. It had been so long since she had sex ever since her ex left her with a son. Still, she never blamed Jake for her life. She loved him, and was excited to let him know that mommy got a raise at work. She heard a buzz come from her purse as a text arrived on her phone. It read:

              “Hey Mom, I know you’re working late again tonight, but do you think you could pick dinner up on the way home? Love, Jake”

               She smiled as she finished putting her clothes back on. She couldn’t wait to get home and spend some time with her son, but moreover she couldn’t wait until her boss wanted to ravish her again tomorrow.

Helpful Terminology

Agender: An identity that means ‘without’ gender. Agender individuals have no gender identity and/or no gender expression. They often identify as a person rather than a gender.

Aromantic: An Aromantic person is someone who experiences little to no romantic attraction and/or lacks interest in forming romantic relationships. Aromanticism exists on a spectrum, as does Asexualism.

Asexual: An Asexual individual experiences little to no sexual attraction and/or lacks interest or desire for sexual partners. Asexualism exists on a spectrum, as does Aromanticism.

Bigender: A bigender person can identify as any two genders at the same time or go back and forth between the two. Some bigender individuals use different pronouns and/or names for each gender.

Biphobia: Intense hatred, fear or aversion towards bisexuals or bisexuality, which may include negative stereotyping or denial of the existence of bisexuals. People of any sexual orientation can experience such feelings of aversion.

Bisexual: Someone who is sexually attracted to people of more than one gender.

Cisgender (cis for short): A term used to describe someone whose gender matches the sex they were assigned at birth. It is the opposite of transgender.

Cisnormativity: A viewpoint based on the assumption that being cisgender is the ‘default’ or ‘normal’ gender identity, instead of being just one of many possibilities.

Cross-dresser: A person who sometimes wears clothing that is considered by society to correspond with the opposite gender. This is not the same as being transgender.

Demiboy: A term to describe someone who partially, but not wholly, identifies as male or masculine.

Demigirl: A term to describe someone who partially, but not wholly, identifies as female or feminine.

Drag: The act of dressing in gendered clothing as part of a performance. Drag Queens perform in highly feminine attire. Drag Kings perform in highly masculine attire. Drag performance does not indicate sexuality, gender identity, or sex identity.

Gender: A range of characteristics that a society or culture delineates to masculinity and femininity.

Gender Binary: The idea that there are only two genders: man and woman, and that a person must be gendered as either/or.

Gender identity: A person’s internal, deeply felt sense of being male, female, neither or both. A person’s gender identity may or may not correspond with their sex.

Gender expression: How someone expresses their sense of masculinity and/or femininity externally.

Gender diverse: An umbrella term used to encompass people who do not necessarily identify with being transgender, but don’t feel their gender fits into the binary of male or female.

Genderfluid: Describes a person whose gender changes over time and can go back and forth. The frequency of this depends on the individual.

Genderqueer: Usually an umbrella term used to describe those whose identity is non-normative (not male or female). It can also be used as a stand-alone gender identity itself, pertaining to feelings of being neither male or female, both, or somewhere in between.

Gender reassignment services: The full range of medical services that trans people may require in order to medically transition, including counselling, hormone treatment, electrolysis, initial surgeries such as a mastectomy, hysterectomy or orchidectomy, and a range of genital reconstruction surgeries.
Fa’afafine (Samoa and American Samoa), Mahu (Tahiti and Hawaii), Vaka sa lewa lewa (Fiji), Palopa (Papua New Guinea), Akava’ine (Cook Islands), Fakaleiti/Leiti (Tonga), Fakafifine (Niue) Terms that some Pasifika people may use to describe their gender. Their meanings are best understood within their cultural context and may mean something different to each individual. These terms do not have a Western equivalent, but are usually translated to mean ‘in the manner of a woman’.

Feminine presenting: A way to describe someone who expresses their gender in a more feminine way.

Heteronormativity: A viewpoint that is based on the assumption that heterosexuality is the ‘default’ or ‘normal’ sexual orientation, instead of being just one of many possibilities.

Homophobia: An irrational negative response to lesbian, gay, bisexual, or other sexuality diverse people.

Homosexual: A person who is exclusively attracted to those of the same gender. Can refer to someone who is Gay or Lesbian.

Intersex: Intersex is an umbrella term that describes people born with variations of internal and/or external sex anatomy, resulting in bodies that can’t be classified as the typical male or female. There are many different conditions that fall under the intersex umbrella.

LGBTQIA+ : An acronym that stands for lesbian, gay, bisexual, transgender, queer, intersex, asexual and more sexuality and gender diverse identities.
Masculine Presenting A way to describe someone who expresses their gender in a more masculine way.

Multisexual: An umbrella term for people who are attracted to multiple genders. E.g. bisexual, pansexual.

Non-binary: Usually an umbrella term for those who do not identify as strictly male or female (for example: gender variant, gender nonconforming, genderqueer). It can also be used as an individual identity.

Pansexual: A Pansexual person is someone who is attracted to people regardless of biological sex, gender, or gender identity, or someone who is attracted to all genders.

Pronouns: The words that are used when referring to someone in place of their name. Examples of pronouns include: she/her/hers, he/him/his; and gender neutral ones such as: they/them/their, ze/hir/hirs.

Queer: A reclaimed word that is often used as an umbrella term encompassing diverse sexualities and gender identities. It may also be used as an individual identity for someone who is multisexual - they are attracted to people of multiple or all genders opposed to being strictly gay or straight. Queer is used by many people, but it may not be the preferred term for everybody as it has a history of being used as an insult. 

Romantic orientation: A person’s pattern of romantic attraction based on a person’s gender. Sex A person’s sex refers to how someone’s genitals, chromosomes, gonads, etc were developed when they were in the womb. People often confuse sex and gender as the same thing. 

Sexual orientation: A person’s sexual identity in relation to the gender or genders to which they are attracted to. Sexual orientation and gender identity are two different things.

Tangata ira tane: A Māori term describing someone who was assigned female at birth but has a male gender identity.

Takatāpui Takatāpui is a traditional word that originally meant ‘intimate friend of the same sex’. It has since been embraced to encompass all Māori who identify with diverse genders and sexualities such as whakawāhine, tangata ira tāne, gay, lesbian, bisexual, transgender, intersex and queer.

Trans: An umbrella term encompassing gender identities that are not cisgender, such as transgender, genderqueer, whakawāhine, etc. A trans individual may identify with any gender identity (not only male or female), and may or may not have medically transitioned. Not all gender diverse people will identify with the word trans.

Transgender: A term used to describe someone whose gender is the opposite to that which they were assigned at birth.

Transsexual: The term transsexual is similar to transgender, but is usually used to describe someone who has had gender reassignment surgery. This is an outdated term and the majority of trans youth would use the term ‘transgender’ instead, regardless of whether or not they have medically transitioned.

Transition: Steps taken over time by trans people to live true to their gender identity. Transition may include some or all of the following personal, medical, and legal steps, telling people in one’s life, using a different name and new pronouns, dressing differently, changing one’s name and/or sex on legal documents, hormone therapy, and possibly (though not always) one or more types of surgery. The exact steps involved in transition vary from person to person.

Transphobia: An irrational negative response to transgender and intersex people, as well as other gender identities. Transphobia often carries the assumption that gender is natural, rather than learned and conditioned.

Trans man: A transgender person who was assigned female at birth but identifies as male.

Trans woman: A transgender person who was assigned male at birth but identifies as female.

Transfeminine: A term used to describe trans people who were assigned male at birth but identity with femininity to a greater extent than masculinity.

Transmasculine: A term used to describe trans people who were assigned female at birth but identify with masculinity to a greater extent than femininity

Whakawāhine, Hinehi, Hinehua Some Māori terms describing someone who was assigned male at birth but has a female gender identity.


•time for another trans headcanon
•consider this, trans Phichit
•he’s such a hardworking dedicated skater because he’s not only trying to make a name for Thailand but also for transgender athletes as a whole
•he not only wants to show Thailand how fun skating can be, but he also wants young trans kids to see that it’s a sport they can succeed in
•when he first gets to the us to train under Celestino, he doesn’t pass like at all
•he’s not very tall, he’s got a rather high pitched voice, and his facial features are fairly feminine
•but neither Celestino or Yuuri care about that, they both accept him immediately
•and Yuuri, being gender fluid himself gives Phichit a lot of tips on how to be perceived the way he wants to be
•at first Phichit is really strict about only presenting as masculine as possible
•but once he’s more confident in himself and comfortable in his own skin he starts trying out some more traditionally feminine ways of presenting
•and he has Yuuri teach him how to do makeup which he quickly becomes an expert at
•he develops his own style which is a nice mixture of western clothing, tradition Thai garb and masculine and feminine attire
•he starts practicing even harder and honing his skills so that he can go out and show the world that the transgender skater from Thailand is a force to be reckoned with
•and everyone he competes against has this immense respect for him because he’s pushing boundaries left and right about what is expected from Southeast Asians and transgender athletes
•and throughout this all he just has a super supportive coach and best friend and he goes out there and lives his life as the truest him he can be

this month is women’s history month! remember that this includes women of color, trans ladies, women who love women, women of every religion, women of all shapes and sizes, women who love sex, women who don’t love sex, ladies who like dressing in feminine attire, ladies who like dressing in masculine attire, bisexual women, pansexual women, aesexual women… women’s history month is for ALL women #GirlPower 💋

daarkmind  asked:

Hc for Jungkook who was born and raised ina small town but moved to a bigger city for college. He meets Jimin, the first time he sees an androgynous boy in a full feminine attire (dress or skirt or super short shorts) and makeup, but still has a boyish charm. He doesn't find the boy weird but instead he's very fascinated by his appearance. You decide what will happen.

+ Jungkook grew up in a small town and the only way out was a scholarship to a big university.

+ Jungkook liked his little town but he never really felt he fit in, despite his popularity cause he in the best soccer player ever to see from the town.

+ It’s traditional, safe. As much as Jungkook appreciates it, he wants….. he doesnt know. So he got out. Jungkook drove up to Seoul with excitement and nervousness.

+ First off the city is busy, he knew it would be but….damn! Jungkook found his apartment that the school uses as dorms. Jungkook unlocks the door and is shock to see Jimin.

+ Jimin was helping Taehyung set up his t.v, but what shocks him is that Jimin is in a Jean skirt. The shirt is a regular men low cut white T, wore a hat backwards and his socks were hot pink with strawberries. That skirt though. Boy??? Girl???

+ “ah! Roomie!” Taehyung calls out happily making Jimin turn to Jungkook with a friendly smile. Jungkook blinks as his brain tries to make out what Jimin is.

+ “uh, hi. Jeon jungkook.” “Hi Kook! Can I call you that? Well Imma call you that! I’m Kim Taehyung and this right here is Park Jimin, my bestie!” Jungkook just stares at Jimin’s face now that he is closer. Eye liner, eye shadow, lip gloss. Also he missed a spot while shaving. Jungkook shook hands with Tae.

+ “Nice to meet you.” Jungkook turns to shake hands with Jimin. “You too ma…n?” Jungkook asks and the room goes silent before Jungkook thinks he did something wrong the two start laughing.

+ “yes, man.” Jimin says squeezing Jungkook’s hand. Jungkook pulls away from the pain as he keeps looking at Jimin in shock who keeps laughing. Jungkook blinks as he looks at Taehyung. Taehyung skids over and wraps a arm around Jungkook’s shoulder.

+ “Don’t worry, you’re from a small town Right? Now we wont have a issue. If you dont have a issue. Cause we are gay as fuck and my boy wears whatever he wants. So if you have a issue tell now.” Jungkook blinks at the serious look Taehyung gives him before facing Jimin who waits for his answer. Jungkook blushes.

+ “It’s not a issue.. I’m just…” Jungkook looks Jimin over once more. “Intrigued?” Jimin smiles as he giggles. “Don’t scare off the baby Tae.” Jungkook watches as the two bicker before going off to finish the t.v.

+ Jungkook eyes follow Jimin around. His brain is trying to figure out what he sees but all he knows he likes it. Jungkook smiles closing the door behind him.

anonymous asked:

can guys wear skirts? (please tag as 'skirt', thank you)


The following verse refers to the concept of cross dressing and the fact that God does not approve of it:

“A woman must not wear men’s clothing, nor a man wear women’s clothing, for the Lord your God detests anyone who does this.” - Deuteronomy 22:5

The idea being referred to here is not simply “women must wear skirts and men must wear pants”. Some sects of Christianity use this verse as a means to say women can’t wear pants, for example. What is important to understand is that what this verse is talking about is the act of a man or woman wearing certain clothes with the intention/goal of making themselves appear the opposite gender. It’s saying that God doesn’t approve of women dressing in such a way that they are trying to look like men, and He doesn’t approve of men dressing in such a way that they are trying to look like women.

A man wearing a skirt isn’t inherently sinful. There are many cultures where it’s the norm for men to wear skirt-type clothing and it’s not interpreted as a man trying to appear as a woman. For example, Scottish men wear kilts and Japanese men wear kimonos. In Jesus’ time, men and women alike wore tunic-like garments. Pants weren’t a thing back then.

The issue is when men wear a skirt-type garment and it is interpreted as a male trying to imitate a female. The same applies in reverse for females. For example, let’s look at American society. The masculine social norm is for men to wear pants. So if a man walks down the street wearing a dress or skirt, the automatic assumption is that he is cross-dressing and trying to imitate a woman. The feminine social norm is for women to wear skirts, dresses, or pants. Nobody will think a woman is trying to imitate a man if she wears pants because it’s the social norm in America that women wear pants or skirts/dresses. However, if a woman chooses to bind her breasts, buy clothes that one can clearly discern are male fashion (because while both men and women wear pants, we can tell there are differences in male versus female styles of pants, for example), etc, then it becomes evident that she is trying to imitate a man according to established societal fashion norms based on gender.

This topic reminds me of Paul’s message to the Corinthians regarding hair length. According to Corinthian culture/societal norms of the time, short hair on females and long hair on males gave the visual signal that the person is a prostitute. That’s why Paul stressed the importance of the Corinthian men cutting their hair short and the Corinthian women leaving their hair long. Paul was concerned that failing to do so would give the false impression that one is a prostitute and this could hinder one’s ability as a Christian to witness for Christ. It would be confusing and contradictory to give the visual impression one is a prostitute while simultaneously trying to spread the message of Christ. This is the modern equivalent of say a woman dressing provocatively while trying to witness for Christ. It gives a conflicting message and it serves as a distraction from Christ. Expanding more on the hair example, we know in today’s society (using America as an example again) that men with long hair and women with short hair aren’t assumed to be prostitutes. That’s why it’s not inherently sinful for men to have long hair or women to have short hair. Once again, this is something that relies heavily on societal norms - just like the idea of masculine/feminine attire relies on this.

I hope this helped to answer your question! Let me know if you have any other questions.

tax-beast  asked:

i'm here to inquire about your disco son pleez

oh gosh thanks for showing interest? Well here’s Mordecy, also known as Mordy:

To the left is a doodle of him in his feminine attire, and to the left an even rougher doodle of his masculine attire. Mordy is very flexible in his gender expression and considers himself both as genderfluid and a nonbinary boy.

Mordy is a native of Mystery Island, which he loves to bits. He’s very proud of were he’s from and finds lots of inspiration in nature, which is crucial to him as an artist. His art is mostly music and dance, but he likes to dabble in a bit of everything (really bad at sculpting but keeps doing it… such tenacity). Mordy is super laid back and a bit of a trickster. Not the most professional person, though it really isnt out of malice.. he’s just really super chill and stubbornly follows the flow of inspiration. Mordecy can be hard to understand when he’s excited, since he’ll start talking with metaphors and analogies about life which only mean something to him. Also, he uses the word “radical” way too much.

anonymous asked:

ToT for okita, hijikata, and kazama: would you ever think less of chizuru for wanting to look pretty/girlish, or wear pretty things, etc? (sorry this is kind of similar to another request you did)

Note: Sure, it’s similar, but nowhere near identical, so we’re good~

“Not at all,” smiles Kazama. “In fact, I would think less of Chizuru for wanting to wear masculine clothing. If she openly wished to dress in more feminine attire, far be it from me to stop her.”

Hijikata shakes his head. “I’m not about to agree with you,” he says, shooting Kazama a glare out the corner of his eye. “But no, I wouldn’t think less of her. When you think about it, at her age, it’s natural.” He sighs. “Thing is, I also couldn’t allow her to actually do it, even if it’d make her happy.”

Okita laughs. “Sure, I’d think less of her,” he says. “Chizuru-chan knows she can’t dress like a girl, so if she randomly started whining after years of being fine with it, I’d lose patience with her pretty quick. Besides,” he adds, “she doesn’t need all those shiny things to make her look better. She’s about as good-looking as she’s going to get.”

“That’s cold, Souji,” mutters Hijikata, as Kazama raises an eyebrow.

“Is it?” returns Okita, smiling, but refuses to elaborate.


Photographs of Turkish köçekler (sing. köçek). The custom of the köçek is, nowadays, an obscure and shunned part of Turkish history. The köçek was normally a very attractive young man entertaining, usually in typically feminine attire. In a weird mix of transvestism, Ottoman supremacism, and sexual slavery, the  köçek boys were forcefully taken from ethnic groups on the fringes of the Ottoman Empire, such as albanians, jews, romani, armenians, and kurds. These boys often came from a non-muslim background, supposedly legitimizing their coerced subjugation by Ottoman sultans and warlords. The köçek boy would be employed as long as his youthful and androgynous characteristics persisted, being usually let go as his beard developed. They were sexually available, taking on a traditionally passive female sexual role. 

Mass media images of “biological males” dressing and acting in a feminine manner could potentially challenge mainstream notions of gender, but the way they are generally presented in these feminization scenes ensures that this never happens. The media neutralizes the potential threat that trans femininities pose to the category of “woman” by playing to the audience’s subconscious belief that femininity itself is artificial. After all, while most people assume that women are naturally feminine, they also (rather hypocritically) require them to spend an hour or two each day putting on their faces and getting all dressed up in order to meet societal standards for femininity (unlike men, whose masculinity is presumed to come directly from who he is and what he does). In fact, it’s the assumption that femininity is inherently “contrived,” “frivolous,” and “manipulative” that allows masculinity to always come off as “natural,” “practical,” and “sincere” by comparison. Thus, the media is able to depict trans women donning feminine attire and accessories without ever giving the impression that they achieve “true” femaleness in the process. Further, by focusing on the most feminine of artifices, the media evokes the idea that trans women are living out some sort of sexual fetish. This sexualization of trans women’s motives for transitioning not only belittles trans women’s female identities, but encourages the objectification of women as a whole.

Of course, what always goes unseen are the great lengths to which producers will go to depict lurid and superficial scenes in which trans women get all dolled up in pretty clothes and cosmetics. Shawna Virago, a San Francisco trans activist, musician, and director of the Tranny Fest film festival, has experienced several such incidents with local news producers. For instance, when Virago was organizing a forum to facilitate communication between police and the trans community, a newspaper reporter approached her and other transgender activists to write an article about them. However, the paper was interested not in their politics but in their transitions. “They wanted each of us to include ‘before’ and ‘after’ pictures,” Shawna said. “This pissed me off, and I tried to explain to the writer that the before-and-after stuff had nothing to do with police abuse and other issues, like trans women and HIV, but he didn’t get it. So I was cut from the piece.”

A few years later, someone from another paper contacted Virago and asked to photograph her “getting ready” to go out: “I told him I didn’t think having a picture of me rolling out of bed and hustling to catch [the bus] would make for a compelling photo. He said, ‘You know, getting pretty, putting on makeup.’ I refused, but they did get a trans woman who complied, and there she was, putting on mascara and lipstick and a pretty dress, none of which had anything to do with the article, which was purportedly about political and social challenges the trans community faced.”

Trans woman Nancy Nangeroni and her partner Gordene O. MacKenzie, who together host the radio program GenderTalk, described two similar incidents on one of their programs. In both cases, while they were being filmed, the media producers wanted to get footage of the two of them putting on makeup together (requests that Nangeroni and MacKenzie denied). I myself had a similar experience back in 2001, just before I began taking hormones. A friend arranged for me to meet with someone who was doing a film about the transgender movement. The filmmaker was noticeably disappointed when I showed up looking like a somewhat normal guy, wearing a T-shirt, jeans, and sneakers. She eventually asked me if I would mind putting on lipstick while she filmed me. I told her that wearing lipstick had nothing to do with the fact that I was transgender or that I identified as female. She shot a small amount of footage anyway (sans lipstick) and said she would get in touch with me if she decided to use any of it. I never heard back from her.

When audiences watch scenes of trans women putting on skirts and makeup, they are not necessarily seeing a reflection of the values of those trans women; they are witnessing TV, film, and news producers’ obsessions with all objects commonly associated with female sexuality. In other words, the media’s and audience’s fascination with the feminization of trans women is a by-product of their sexualization of all women.


Shimura TATSUMI 志村立美 (1907-1980)
is known for designing several striking bijin-ga prints towards the end of the shin hanga movement. Born in Takasaki, Gunma, Shimura’s real name was Sentaro. In 1921, he began studying art with Yamakawa Saiho, a well-known llustrator. Three years later, he became an apprentice of Saiho’s son, Yamakawa Shuho, who was also a bijin-ga artist and print designer. Shimura exhibited paintings with Kyodotai in 1927 and with Seikinkai in 1938. He became known for his paintings of beautiful women with long eyelashes and blurred pupils.
From 1948 to 1952, Shimura designed several woodblock prints of beauties that were published by Kato Junji. Later he collaborated with the Japanese Institute of Prints to create a series called “Five figures of modern beauties” (Gendai bijin fuzoku gotai). These prints were published in 1953 in editions of 200. They depict Japanese women in traditionally feminine poses and attire. The finely detailed figures are juxtaposed against very simple backgrounds. Shimura devoted his career entirely to Nihonga, or Japanese style painting.

siehomme  asked:

Hi! Thanks so much for modding this blog, it's really super helpful. I have a question about pronouns. If I were describing in writing someone I see who I am pretty sure is transgendered, what pronoun would be safe to use? Say, they appear to be amab but have dressed in more feminine attire. If I have no way of knowing their preferred pronoun, which would I use? What they are presenting as? Or "they/them"? Want to be very respectful in my writing. Thanks!

It’s generally best to use they/them pronouns for someone if you’re not sure what pronouns they prefer. You can’t know if someone is trans or not just by looking at them, so it’s a good idea to use neutral pronouns and neutral language (like saying person instead of man or woman) until you know what pronouns and language the person is comfortable with.

Also, the adjective is “transgender” and not “transgendered”, so you would say “a transgender person” or “a person who is transgender”!


There is a particular writing technique used in TERF articles frequently that has recently caught my attention. The article will use a behavior seen as extreme, which supports the idea of trans women being either fundamentally perverted or violent. Then immediately after it will be juxtaposed with a much more mundane behavior that on it’s own seems innocuous, but it’s positioning has been done in such a way that it seems somehow worse by proximity to the extreme behavior.

Example #1 - The audience is given the mental image of a perverted male who dresses or performs womanhood for his own sexual pleasure. Then the act of wearing feminine attire is decried as inherently bad.

Example #2 - The audience is given the mental image of a male who exposes themselves to young girls in order to incite disgust. Then the idea of trans women using the bathroom is presented as inherently invasive.

In both situations, the proximity of the two ideas is used to tie them together. Targeting the mundane acts of using the bathroom, or wearing the clothing you desire, will cause you to be seen as supporting perversion.

Not only is this a danger to trans people due to misinformation and public stigma, but it also allows reactionary sentiments or values to be spread through radical feminist circles as “Reasonable” without full consideration. Genuine gender abolitionists should quickly recognize that restricting people’s personal expression, such as suggesting that all men who dress in feminine attire are somehow perverted, goes against the basic principles of their ideology.

Rocky Horror Picture Show: Liberating Queerness and Gender

Here’s the paper I wrote for my English class examining RHPS. I quoted @vraik and wish I had done a better job in that department because they had so much raw material to work with but I had a lousy word restriction. Enjoy my trash! I apologize for the readmore not working?

The Rocky Horror Picture Show: Liberating Queerness and Gender

    While The Rocky Horror Picture Show is perceived by many as a gross cinematic circus of depravity, far more of its audience has used the themes of the absurd film to find liberation in queerness. Recently remade for daytime family television, The Rocky Horror Picture Show (1975) is an outstanding piece of queer media, with its characters blurring the lines of sex and gender in ways many consider abhorrent. The erstwhile flop takes its audience, young and old alike, on a wild ride set to mimic the best and worst elements of B-movie horror and science fiction, all while bringing together entirely new and upsetting ideas of gender, sexuality, and villainy. The film is presented to the audience through the narration of The Criminologist (Charles Grey), who recounts the story of the recently engaged, straight-laced protagonists Brad Majors (Barry Bostwick) and Janet Weiss (Susan Sarandon). On their way to visit their old professor, Dr. Scott (Jonathan Adams), their car dies and they seek shelter at the nearby decrepit castle. There, they meet Dr. Frank-N-Furter (Tim Curry) and get sucked into a series of flamboyant hijinks, laid out for us through sexually charged, provocative musical numbers. Along with Dr. Frank’s adonis creation, Rocky (Peter Hinwood), the creepy cast of Frank’s henchmen, Columbia (Nell Campbell), Eddie (Meat Loaf), Magenta (Patricia Quinn), and Riff Raff (Richard O’Brien) carry out other subtle, sinister plots that slowly reveal themselves as the movie unfolds. Originally a stage play by Richard O’Brien, Rocky Horror was adapted for the screen by O’Brien with the help of Jim Sharma, who then went on to direct this outstanding movie. This cast is of vaudevillian personality, all the better to introduce some pretty heavy (yet thrilling) ideas of queerness.

    O’Brien and Sharma’s Dr. Frank-N-Furter displays a casual disregard for the gender binary long before the words to describe such a person existed. While it’s hard to argue that a film from 1975 would still accurately represent any subsection of culture, Rocky Horror’s themes of gender conformity are uniquely timeless. In his introductory song, Frank describes himself as “a sweet transvestite from Transexual Transylvania!” Looking at his character, many would and have assumed that Frank, in his seductive corset, fishnets, and bright red lipstick, is a crossdresser or drag queen. This reality is that Frank isn’t portrayed with a sex gender or identity. In Midnight S/excess, Gaylyn Studlar criticizes Dr. Frank-N-Furter’s character, arguing that “in spite of his feminine attire and ‘swishy’ ways, Frank remains a transvestite figure with whom males can safely identify without endangering the power base of their prescribed masculinity.” However, Studlar’s interpretation of Frank becomes clearly reductive when she goes on to say “tranvestitism is the simple act of one gender donning the traditional apparel of the opposite gender.” Many of the characters wear a mixture of “male” and “female” clothes, but Frank is the only main character described as a transvestite. By Studler’s logic, they should all be called transvestites, as should any woman who has ever worn pants! Merriam-Webster dictionary gives a better definition, describing a transvestite as “typically a male who adopts the dress and often behavior typical of the opposite sex especially for purposes of emotional or sexual gratification.” Frank-N-Furter is not portrayed this way. While his clothes certainly do represent more feminine elements, they are never shown to be what drives Frank’s behavior. It could be argued that Dr. Frank-N-Furter is a drag queen, “a homosexual man who dresses as a woman especially for comic or theatrical effect” (Mirriam-Webster), but Frank’s relations with the other characters quickly prove him to be bisexual rather than gay. We do see Frank’s masculinity in his name and pronouns, but his dress and behavior waiver repeatedly between the masculine and feminine.

    In addition to Dr. Frank-N-Furter’s complete disregard for gender norms, many of the characters are sex positive and showcase diverse sexuality. This is the main reason Rocky Horror has held up as a cult film. When reviewing Rocky Horror’s recent remake for The MarySue, Vrai Kaiser highlights the importance of alternative sexuality, saying “Well, Fox. You did it. And by ‘it,’ I mean you scrubbed and sanded one of the flagship pieces of alternative queer media until it was 87% heterosexual.” They call back to a very valid and important element of the original 1975 flick; queer sexuality. In one of the film’s most memorable scenes, we see Frank trying to entice Janet and then Brad into sex with him. Frank at first tries to trick either character by pretending to be their partner, but he is quickly discovered. We would expect his true identity would get him kicked out, but both characters agree to have sex with Frank. This is especially shocking, given that Brad and Janet are our “straight” characters. They’re saving intimacy for their marriage, acting ashamed at states of undress, and are the most resistant characters to the sexually charged, genderfluid world presented by Dr. Frank. For Brad and Janet both, sex with Frank-N-Furter is a queer experience, as both of them are engaging with someone well outside their previously expressed sexuality. This has the same effect for them as Rocky Horror does for audiences. As Bill Henkin says in The “Rocky Horror Picture Show” Book, “of course, we’re all Brads and Janets when we see Rocky Horror for the first time.” He’s referring to the sense of release or liberation audiences from previously held ideas of sexuality. Like Vrai Kaiser almost certainly felt when they first saw the antics of the cast of Rocky Horror, audiences find comfort in the characters and allow themselves to let go of social norms that might restrain them.

    Rocky Horror is heralded for its absurdity, but the absurd is exactly how the film highlights ways to be queer. Even though the environment is so cartoonishly unrealistic, the contrast separates queerness from depravity and makes it accessible. Many don’t see Frank-N-Furter’s actions as liberating, choosing instead to see all the characters as defiled by Frank’s sexuality and gender. Henkin makes this very point, but he rather contradicts it when he says that Janet “takes her defilement with such enthusiasm.” He’s right, Janet is enthusiastic as she has sex with Dr. Frank. This same exuberance is seen again when she has sex with Rocky while singing “I wanna feel dirty!” She’s not defiled in any way, she’s liberating herself through her sexual choices, and that iconic song, “touch-a touch-a tough-a touch me,” is her literally begging to feel those same excited, pleasurable feelings. It sounds so dirty, but audience members familiar with feelings of restraint brought on by social pressures identify with her song, and find the movie a safe space to feel liberated just like Janet. Henkin hits this idea spot on, writing “along the way he [Frank] reminds us of our possibilities and leads us in the movie’s anthem, exhorting us, “Don’t dream it – be it.” For his willingness to live out his own dreams, we love him. And it is for Frank, more than any other character, that we return to the theater again and again to see and, in our hopeful way, to be.” Frank-N-Furter serves as a sort of queer guide for Brad and Janet, but also the audience, showing alternative ways of expressing gender and sexuality.

    Every instance of Rocky Horror feels absolutely absurd, sharply contrasting the normal 60s-style clothes and car of Brad, Janet, and Dr. Scott. Some of our characters are aliens, Frank’s party guests are all dressed in ways almost as absurd as his own corset and fishnets, emotions and drama are amped up. All of this shows in Brad and Janet’s total discomfort, and many critics share this sense of disgust. Henkin puts it best when he says “Critics who have been horrified by some of the movie’s absurdities have been inclined to see its thematic perversion as horrible too. But there are lots of people who have found these perversions – at least as presented here – to be entertaining, and who do not require stringent coherence between theory and form in order to enjoy a laff. These are the people for whom Rocky Horror was made, and this is the audience the film has found.” Here, Henkin is distinguishing between what we see that is clearly absurd and elements of the plot that seem downright deprived. Visually, the film is crazy, showing us outrageous costumes, lustful songs, and simply sexual choreography. This, as Henkin points out, is different from the thematic perversion. Frank-N-Furter makes Rocky just to have sex with him. When he finds out his past fling, Columbia, wants to leave his service for his ex lover Eddie, he murders the depraved biker and serves him up as dinner. Frank even kidnaps and dresses up all of the straight characters for a dramatic final scene. When his unruly behavior is called out by Magenta and Riff Raff, his alien compatriots, he prefers to die than give up his crazy ways and go home. There is nothing realistic about these elements of the movie, but they are distinctly different from gender and sexuality. Studler also makes this point, referencing a quote from Freud as she argues that Rocky Horror “…proves that ‘this same disposition to perversions of every kind is a general and fundamental human characteristic.’” Brad and Janet already feel some of that “depravity” but don’t act on it until the ridiculous environment provided by Dr. Frank-N-Furter allows them to feel safe while expressing themselves. Though she is critical of the film, even Studlar highlights this, saying “Brad and Janet can only express desire in the confines of conventional marriage in caricatured ways that rhyme. Their gendered positions are fixed, and they mindlessly act out roles that ultimately block connection and fulfillment. Once Brad and Janet enter the world of Frank N. Furter, the rest of the film is spent dismantling traditional, non-erotic notions of marriage and male/female coupling in general.”

    Throughout the movie, Frank-N-Furter serves as a sort of guide through the world of queer, sexual liberation. He breaks gender roles, destroys stereotypes of sexuality, and unlocks the “hidden potential” in Brad and Janet by showing them sex positivity. The sexual awakening of Brad and Janet isn’t inherently bad or villainous, and that message has resonated with audience for over 40 years, and probably will continue to do so in the decades to come.

Word Count: 1731

Works Cited:

The Rocky Horror Picture Show. Jim Sharma. Tim Curry, Barry Bostwick, Susan Sarandon, Charles Grey, Meat Loaf. Twentieth Century Fox, 1975. Film.

Kaiser, Vrai. “The Rocky Horror Remake Is Bafflingly Straight.” Review of Rocky Horror Picture Show: Lets Do the Time Warp Again, Kenny Ortega. TheMarySue.com. The MarySue, 21 October, 2016. Web. 29 October, 2016.

Studlar, Gaylyn. “Midnight S/excess.” Journal of Popular Film & Television. Volume 17. Spring (1989): pg. 2-14. Print. 27 October, 2016.

Henkin, Bill. “The ‘Rocky Horror Picture Show’ Book.” Contemporary Literary Criticism. Volume 17. April (1981): pg. 325-328. Print. 27 October, 2016.

Localisation Change: Azama & Kagero Support Convos

The basic subject of their support convos didn’t change that much. Both the English and Japanese versions feature a discussion about Kagero’s uniform. The difference is in the details…and in the fact that Japanese Azama can sometimes say the most inappropriate stuff. 

In the English version, he asks about the scarf and if all parts of the uniform are necessary, and then wonders why all ninjas wear the same thing. (All screens are taken from their C support conversation, but these changes are evident in all their convos.)

However, in the Japanese version, he instead comments on the amount of cleavage she shows, and even goes as far as to recommend that she try using her feminine wiles (e.g., revealing attire) to distract male enemies!

Azama: “Why do you dress like that? Is it an attempt to seduce men?”

Instead of discussing the possibility of her using her appearance to try to catch enemies off guard, the English conversations were changed to a more thorough discussion about her uniform. English Kagero is upset that Azama would question the usefulness of the ninja uniform (and, apparently has to admit to herself that she doesn’t know much about the history of the outfit), while Japanese Kagero gets upset that Azama constantly teases her about her cleavage, though they eventually draw a truce. 

Edit: By the way, when he asks for an accessory, Azama is one of the people who appreciates receiving a bath towel! He enjoys that sort of humour.

I want to take this time to talk about Saevi

Saevi is the new protagonist in my harem story that I’ll write after I finish Knightly. Saevi is an agender robot that was built 22 years ago in the future. Their creator made them resemble a woman because she wished for a daughter but when Saevi woke up they didn’t particularly care for what they identified as. They dressed in more feminine attire for they’re business job but outside of work they wore whatever they wished.

 Later in the story however, Saevi starts to feel emotions which is something a robot was not supposed to learn how to do, so they deemed them as dangerous and that they have gone rogue. While being hunted down to be shut down, they meet other characters that save them that are trying to overthrow the president who is slowly becoming a dictator that promises discrimination and threatened peace. Part of the reason why robots with emotions were claimed to be dangerous was because of the president who wished to basically reverse time, ruining all the peace they worked for and to have more power over the world. 

Along with the intense plot, Saevi also discovers new emotions and has captured the interests of her male, female, gender-fluid, non-binary, etc, friends along the way. This Romantic, Sci-fi, Action Harem novel will be written soon!