hello, it’s ur friendly half latina here to remind u that in the lightning thief percy takes a taxi to east 104th and first for his apartment which is a corner in east harlem aka “spanish harlem/el barrio”, one of the largest latino communities in nyc (only 7.3% white) meaning it’s actually very likely that percy is latino :)))
Sorry for all this, but since I’ve been blocked I can’t actually directly respond.
It’s great that you think that A became Asexual from Ally when AVEN forced the issue, but… AVEN formed in iike, what, 2000?
I can personally remember A being Asexual in the 90s, before that event.
My partner remembers it from the 80s, and points out that sometimes there were two As (Asexual and Ally) and sometimes two Qs (Queer and Questioning).
I know Marsha P. Johnson and Silvia Rivera were influential in the late 60s and early 70s, but they did not start the community. They were organizers IN the community that already existed. And they were in NYC. The communities in the midwest and California were not entirely identical back in the before times. Hell, the lesbians and the gays couldn’t always be in the same room with one another and stay polite.
The internet has homogenized this stuff some, but back in the 80s and 90s things weren’t quite as consistent as they have become.
The ‘X’ that Kinsey discussed were absolutely part of the existing queer community, even if they weren’t calling themselves ‘ace’. Same people.
I can’t remember citations, but I’m pretty sure if you go dig up some of good old Magnus Hirschfeld work that you’ll find that pre-WWII queer community in Berlin (ie, the San Francisco of Europe at the time) included discussions of people we would recognize as Asexual.
History is long and complicated. It’s a great story that Aces and Aros are cishet and straight and not part of the community, but it’s a story. It’s revisionist history. It disagrees with my lived experience (I’m old).
The thing that really cheeses me off about this whole conversation is that back in the 80s and 90s you had this exact conversation, except it was about the ‘B’ or the ‘T’. Not the ‘A’. Now, the people making these kinds of exclusionary statements are excluding the ‘A’ from the LGBT. And they use the same kinds of arguments. B people are either straight (and therefore not part of the community) or confused gay people (in which case they were fine). T people aren’t ‘really’ women, so they don’t belong in lesbian spaces. Really they’re just gay men who like dressing up or they’re straight men who don’t belong in the community because they’re some kind of fetishist.
It’s always about peeling off some of these queer identities and reducing them to the ‘actually gay’ part (who are okay, if strange, and part of the community) and the ‘actually straight’ part (who are our oppressors, and don’t belong and are evil and sneaky and trying to horn in on our community and make us unsafe and doing it for attention).
It’s a conversation that makes us poorer every time we have to go through it.
How do we understand the idea of art? How do we understand the concept of social justice? What does Art Education do?
These were some of the questions explored by school administrators, arts educators, teachers, parents, youth, and community organizers gathered on March 24th at the Brooklyn Museum’s Arts as Social Justice Roundtable. Through group discussion, image reflection, and sharing personal stories, participants investigated the intersection of the Arts and Social Justice and the pedagogical implications of this relationship.After sharing some of the issues most impacting their communities, participants broke into smaller groups where they raised a host of other questions including, “How can art redefine social concepts and dynamics?” “What is the relationship between art-making and learning in general? How can art bring communities together?” and “How can art help us imagine new social possibilities?”
Some key findings from the gathering included:
We often assume a shared understanding of Social Justice and this is often counter-productive.
Social Justice should be approached as a commitment to PROCESS. An understanding of pedagogy and the ability to facilitate groups around difficult conversations is essential to this process.
At its core Art can also be understood as a process/approach towards learning and doing. There is an intimate relationship between all authentic learning and Art.
Within the context of Art, a Social Justice perspective requires us to expand and questions traditional notions of “Fine Arts” and artistic “Canons”.
Art Education is essential to Social Justice because Social Justice requires Social Imagination.
There is power in collective thinking and group learning. There is a need and yearning for more spaces that bring together diverse cross-section of people to engage and to wrestle with these questions.
Over the next two years, the Education Division will continue asking these questions as we begin a new partnership with local community organizations and middle schools in Central Brooklyn (Districts 16 & 17) with the support from the Kenan Foundation. The partnership will result in a student-driven community arts project highlighting the transformative power of the arts. The Arts as Social Justice Roundtable was the first step in learning from colleagues across the field and sharing inspirational approaches as we begin this new endeavor.
In reflecting on art education, imagination, and social justice, Director of Education, Adjoa Jones de Almeida recently wrote, “Now more than ever, we must look at those realms in our collective consciousness that privilege the imagination and the human capacity to create. Continuous engagement with artistic practices strengthens our imagination muscle. Arts education is essential, because it builds our ability to dream and imagine beyond our present condition.” As we work to strengthen our Arts as Social Justice Pedagogy, Education staff will continue investigating the intersection between Arts and Social Justice in our teaching as well as in conversations with visitors, staff, and community members.
Who are the JDL? I'm a Jewish antifascist but I've never heard of them until the post about them and the SOD
Oh these fucking JDL clowns.
You’d hope that a group going by the name “Jewish Defence League” would be dedicated to fighting anti-Semitism and neo-nazis. Sadly, this ain’t the case. It was founded in 1968 by Rabbi Meir Kahane (aka Martin Kahane) as part of a campaign to incite fear of black and Puerto Rican residents in NYC in the Jewish community. A few years later the JDL switched their focus to committing terrorist acts against Soviet targets. Quickly, they expanded their hit list to anyone they considered to be the enemy of Zionism, Israel, or radical-right Jewish nationalism. This was to include Jews who “weren’t Jewish enough” for the JDL. For example, in the mid-seventies JDL members stormed the
San Francisco Jewish Welfare Foundation offices, beating four staff members, including one that was permanently disabled from their stay in a nazi concentration camp.
In 1994 JDL member
Baruch Goldstein walked into a mosque in Hebron with a machine gun and murdered 29 Palestinians as they prayed. The JDL praised Goldstein for this, calling his terrorist mass murder “a preventative measure against yet another Arab attack on Jews.”
In 2001 JDL leaders Irv Rubin and Earl Krugel were awaiting trial on charges of conspiring to bomb a mosque in California and the offices of an Arab-American congressman. Both died in prison before they could be brought to trial. The FBI listed the JDL as a terrorist group in its
Terrorism 2000/2001 report.
As of late, the JDL have been actively collaborating with other Islamophobic extremists - even those with well-established links to neo-nazis - like Sons of Anarchy cosplayers the Soldiers of Odin.
This Earth Day, we’re thrilled to announce that the Museum achieved Leadership in Energy & Environment Design (LEED) Gold certification from the U.S. Green Building Council this past November! The Whitney is the first newly built museum to achieve LEED Gold status.
[The Whitney’s green roof overlooking the Hudson River. Photograph by Nic Lehoux]