non normativity

Rick Riordan is such an underrated author

He is literally an author that give Tumblr diversity in popular books and yet it go mostly ignored. He has featured:

-Interracial couples

-Bisexual characters

-Gay characters

-Gay POC

-Pansexual characters

-Gender fluid characters

-Characters with disabilities (mental and physical)

-Asexual characters

-Children from abusive homes

-Characters with PTSD

-Characters with depression

-Representation of different cultures and religions

-Homeless teens

-Talks about racism 

-Talks about the horrible nature of parents kicking out their non-hetero-normative children

-Talks about abusive parents in general

-Talks about the importance of religion to someone’s beliefs

-Talks about how family is important

-Talks about how you are not your family

-Talks about how you can make your own family from the friends that support you

That is probably not every single one but thost are the ones I can think of off the top of my head. Rick Riordan makes these concepts important in his books and honestly makes the more complicated ones easy to understand. I know some may consider his books a bit more childish but it’s important to show young readers the different types of people in the world. It’s important to show them that heroes can come in every type of person. 

So stop sleeping on him

Now Presenting: Brujos


Installment 1: The Devil

Episode 1: Aries

Episode 2: Taurus

Episode 3: Gemini 

Episode 4: Cancer

TV can be art. TV can be revolutionary. TV can be popular entertainment AND incite critical dialogue. Audiences are hungry and intelligent enough for challenging work. This describes the philosophy behind BRUJOS, a counter-hegehmonic web series. Produced by Open TV (beta), conceived, written and directed by Ricardo Gamboa and to be shot by cinematographer Ben Kolak, BRUJOS is a queer-of-color web series.

BRUJOS blends the Latin American soap opera, American sitcom, and critical theory as it follows a coven of four queer Latino doctoral candidates as they learn magic, indulge in nightlife, navigate intimate relationships, and write seminar papers all while trying to survive a witch-hunt. These young protagonists confront histories and realities of racial and gendered inequality as they battle the secret society of white, heteronormative male descendants of the first New World colonizers behind the witch-hunt. Twelve, seven-minute episodes corresponding to signs of the zodiac cycle have been developed through queer men of color testimony; interviews with actual practitioners of divination and magic, i.e. psychics, santeras, tarot readers, etc.; and with academics of cultural studies, performance studies, and queer theory.

BRUJOS addresses the current the landscape of television: Gay men and people of color are more apparent than ever in mainstream television. Sitcoms like “Blackish” and “Fresh Off The Boat” depict families of color attaining the American dream. Programs such as “Looking” and “Modern Family” feature middle and upper class white gay men searching for love or functioning as an all-American family. While these shows are representational achievements, they are not revolutionary ones.

In these cases, ethnic, racial and sexual minorities are portrayed in ways that support dominant culture, narratives, values and relationality. Commercial television studios and networks preoccupied with “scale” and “big data” seldom produce aesthetically or politically challenging work to secure mass viewership. This only further marginalizes non-normative people who’s lives, realities, and stories do not fit within their depictions and who devise new ways of being under the pressures of inequality that are never affirmed.

Moreover, Chicago has become a hotbed for television production. However, series such as Chicago P.D. reiterate stereotypes of people of color as criminals. Mega-hit EMPIRE provides more complex portrayals but it’s get-rich-or-die-trying messaging is consistent with popular culture. Too often work that offers alternative images, narratives, and values is not seen as viable by mainstream producers.

For such reasons, Stephanie Jeter moved from big budget television producing to assume a critical and creative approach to television production. Jeter’s commitment to working with independent artists led her to BRUJOS. BRUJOS was conceived by Ricardo Gamboa, an award-winning “artivist” committed to creating work outside institutional frameworks. Gamboa began development for BRUJOS in 2014 through informal interviews with queer Latino men and healers and psychics.

if you’re writing an argument in discourse, and one of your points is that the LGBT community is for people who are “non-normative”, “abnormal”, “socially deviant”, etc, here’s a fun idea what to do instead!

1) stop
2) just admit you hate gay people and stop wasting our time
3) go away

The gender thing wasn’t what surprised me. A huge percentage of the homeless teens I’d met had been assigned one gender at birth but identified as another, or they felt like the whole boy/girl binary didn’t apply to them. They ended up on the streets because-shocker-their families didn’t accept them. Nothing says “tough love" like kicking you non-hetero-normative kid to the curb so they can experience abuse, drugs, high suicide rates, and constant physical danger. Thanks, Mom and Dad!
—  The Hammer of Thor (Rick Riordan)

Deity meme (1/?) - Dionysos [x] - God of Theater, The grapevine and Religious Ecstasy.

The presence of Dionysos is one of unknowing ignorance. He is the god of wine and religious madness yes but there is a stronger lesson he is trying to teach. He is, up most, a teacher of Hubris. The theaters of Greece created in his name were stages in which tragedy and comedy could be played freely, without consequence. Masks during these plays gave actors the ability to create  ekstasis themselves and make the audience become confronted with questions. There is a reason why the best known line in a tragedy is ‘What should I do?’ In this, the theater is the place for questioning society and life as we know it. 

Comedy on the other hand was a satirical piss take of those in high standing.Theater was created the same time as Democracy, and was ultimately kept alive within it’s bounds. The Dionysia was a celebration and competition of playwrights, also translated to teacher in Ancient Greek. As soon as the theater doors were shut, everyone became one equal group. Without the theater, democracy would have died out and so, the Athenians would have died along with it.

Dionysos is the god of wine, of ritual and ecstasy. His madness is one of non-conforming to societal norms. His theater is place of questioning and thought. He is the outsider looking in, the twice born and judge of those who think they are above their station, be it peasant of king. Dance in his revelry, knowing that your humanity is more beautiful than rules and regulations. 

you (tiny brain): kids on tumblr who describe their genders with flowery imagery are so annoying, a gender is not outer space and the ocean
me (huge exploding brain, familiar with language poetry): the absence of specific language for non-normative experiences of gender is a manifestation of heteropatriarchal violence and exemplifies the way language is politicized and informs cultural consciousness, and kids who use words creatively to describe those experiences are actively resisting that form of oppression

A world where diverse sexuality and gender is not unusual would be so great for everyone.

  • what she says: i'm fine
  • what she means: When Jughead Jones mentions the “paradise lost kids” in riverdale season one episode seven "in a loney place" he’s referring to the West Memphis Three, three teenage boys who were tried and wrongfully convicted for child murder in 1994 during the Satanic Abuse Panic of the 80s and early 90s, a moral panic that demonized misfit kids and posited them as threats to the innocence of children. Moral panic surrounding outside individual threat to childhood innocence is already deeply intertwined with homophobia, but American satanic ritual abuse panics in particular were significant because they coded lonely non-normative teenage outsiders as dangerously perverse in a time when queer visibility was both condemned and starting to flirt with normalization. The history of satanic ritual abuse panic in rural and suburban America is irrevocably tied to narratives of queerness, not specifically only in terms of sexuality, but signifying a fear of non-normative leanings in all people, and also intersects with the ends of aids panic and contributes to a long history of misinformation and bigotry surrounding an idea of queer individuals as dangers to society and to children in particular. Jughead is thus recognizing himself as a part of this history perpetrating itself and identifying the possibility of his condemnation by virtue of his own difference.

it’s easy to conceptualize queerness as failure bc often we experience it as failure to live up to the norms of our assigned genders. but actually when you look closer that failure is a triumph! bc deciding to live the way u feel comfortable rather than submitting to what the patriarchy wants u to be is a powerful assertion of yr personhood and right to exist as a non-normative subject, & yr very existence outside of gender/sexual norms weakens the roots of patriarchy 🙂