THE DEDUCER

I'm a 30-something white, currently able-bodied, working-class trans man who lives on unceded Coast Salish Territory. I use this page primarily as a repository of stuff I like and/or things I want to hang on to for learning.

I love a golden bear on a hot day!

I love a golden bear on a hot day!

Flying Squirrel of Doom!

Flying Squirrel of Doom!

Reblogged from queerandpresentdanger

  • CNN Reporter: "You were quite rude to the President"
  • Medea Benjamin: "I think killing innocent people with drones is rude."

Reblogged from heartdashbeats

itfeelslikegold:

getbackinthewagonwoman:

freshprincesubs:

Will & Jaden Smith performing on the Graham Norton Show a Switch/Fresh Prince of Bel Air theme tune remix with an appearance from DJ Jazzy Jeff & Alfonso Ribeiro :)

aka THE BEST THING EVER!!

i’ve never seen bradley cooper happier

That was perfect.

nothing hurt and everything was beautiful

Reblogged from cubbyzissou

(Source: friendsinaffliction)

The Racist Origins of Modern Clown Makeup (or, just one more reason to hate clowns)

Reblogged from ianthe

ianthe:

This post was asking about a potential link between the afro-style wigs and big, painted lips of the modern clown and racist caricatures, so I decided to do what any good theatre history student would do - I did some research.

SPOILER ALERT: YUP, IT’S RACIST AS FUCK

From Janet M. Davis, The Circus Age: Culture & Society Under the American Big Top:

Some circus programs contained portraits of clowns in literal blackface, with huge red mouths and bulging eyes, strumming energetically on a banjo, but often the auguste clown’s blackface was metaphorical. He created his racial identity through the act of ‘‘whitening up’’ with thick pancake.

His greasy whiteness and exaggerated bodily zones—huge red mouth, lolling, paint-encircled eyes, big fake nose, ears, and feet—made his look strikingly similar to blackface. Showmen played upon this visual connection by arguing that African American men literally were clowns because of their supposed affinity for clowning and the circus. The Ringling Bros.’ route book from 1895 and 1896 contained a section, ‘‘The Plantation Darkey at the Circus,’’ which imagined—in almost orgasmic language—black men as minstrel characters.

Proprietors further conflated the African American man and the clown by arguing that both were completely controlled by their emotions, not reason.

Superlative examples of white manhood—the big cat tamer, the wire walker, and so forth—demonstrated little emotion during life-threatening acts. The clown, by contrast, howled in mock fear when he saw a mouse, or shrieked in pain at a mosquito bite. Showmen characterized male African American spectators in a similar vein as giddy and superstitious. 

Actual big-top acts made this rhetorical relationship between the clown and the African American complete. In 1888 Eph Thompson trained the elephant John L. Sullivan at the Adam Forepaugh circus. Wearing a boxing glove at the end of his trunk, the elephant sparred with Thompson in the ring and frequently ‘‘punched’’ him so hard that Thompson went flying over the ring bank.

Unlike the white trainer who dominated powerful animals, Thompson played a clownish coward—constantly vanquished by the boxing pachyderm—and consequently remained unthreatening to Euroamerican audiences. Yet Thompson still had a difficult time finding employment with American shows. As a result, he moved to Europe where his career flourished.

In line with the tenets of nineteenth-century romantic racialism, show-men’s portrayals of black men and clowns reflected contemporary representations of white women: late-nineteenth-century scientists argued that ‘‘excessive’’ emotionalism defined women, racial ‘‘savages,’’ and children of all races. The German Darwinist Ernst Haeckel and the Americans Edward Drinker Cope and G. Stanley Hall were all proponents of recapitulation theory, positing that every organism repeats the life history of its ‘‘race’’ within its own lifetime, evolving through the less developed forms of its ancestors on its path to maturity. They contended that Euroamerican women and ‘‘primitives’’ remained mentally and emotionally fixed in lower ancestral stages of evolution. Accordingly, only white boys were physiologically and mentally capable of reaching the highest stages of racial and gender development as fully evolved men. This line of thought used pseudoempirical phrenological evidence to claim that African American men were perpetually emotional and juvenile, just like the clown.

The painted clown acted out childish behaviors and infantile pleasures. He reveled in dirt, cried freely, openly adored the serious ‘‘adult’’ acts, and played physical pranks on everybody, from ringmaster to the audience. If playing a hobo (popularized most fully by Emmett Kelly’s ‘‘Willie’’ tramp character during the Depression, when at times nearly one-quarter of the American workforce was unemployed), the auguste clown’s persona was defined by dirt. Laughing loudly at the clown’s antics perhaps transported audiences back to the unrestrained pleasures of their own collective infancy and childhood.

More than a ‘‘low Other’’ who simply represented a tantalizing version of what they were not, the unfettered clown symbolized what clock-bound, alienated adult Euroamerican men perhaps felt they had lost.

Even the red noses have their origins in racist stereotypes.

From Mikita Brottman, Funny Peculiar: Gershon Legman and the Psychopathology of Humor:

While the Native American plains tribes had their own various manifestations of the Trickster figure, the main clown type of non-Native Americans was not the August, as it was in Europe, but the character clown… After the [Civil War] ended, however, one particular style of character clown came into prominence: the Hobo.

Eric Lott describes how the Hobo figure was originally based on the blackface minstrel clowns (hence the exaggerated white mouths) who portrayed the figures of African Americans made homeless by the ravages of the Civil War.

Lott explains that the Hobo character clown is a distinctly American invention, with his tattered hat, huge white mouth, three days’ growth of beard, torn clothes, and cartoon alcoholic’s big red nose. […] It seems ironic that such mawkishly appealing personalities had their roots in the miseries of poverty and oppression and the disfigurements of alcoholism and venereal disease. 

image

 

Reblogged from pussy-strut

pussy-strut:

my boss is making me send out a letter that he wrote in the present perfect tense im gonna be the laughingstock of all paralegals :(

Reblogged from xkitchennoisex

(Source: catleecious)

"When I read stories about disability scams [such as the recent Disney debacle] I shrug. The outrage expressed puzzles me. I have had my civil rights violated in a myriad of ways. For instance, I have been refused entry to restaurants in New York City; no wheelchairs I am told. I have had many a taxi pass me by to pick up a bipedal customer. I have had bus drivers lie to me and say the lift is not working or that they do not know how to use it. I have had rental companies assure me a car with hand controls is available only to find out the car is “lost” in transit. When such incidents take place non disabled people look away. I cannot recall anyone ever coming to my defense when I suffered gross inequities at let’s say an airport. I cannot recall a single person that expressed outrage when I was being denigrated by someone who clearly held power. Hence, I shrug about Disney and the angst expressed. It is misplaced emotion. I wonder where are these people when the school board decides not to put a lift on a bus? Where are these people when the special education budget is cut? Where are these people when Mayor Bloomberg selected an inaccessible taxi of tomorrow? Where are these people when technology for people with a vision impairment is deemed too costly? Where are these people when a new facility is constructed but does not meet ADA requirements? Where are these people? Nowhere to be found and silent."

Reblogged from queerandpresentdanger

“Misplaced Outrage: On the Disney disability controversy” | Bad Cripple »

 … In addition to a stunning level of ignorance about disability in general, I have an additional concern. As noted in my previous post about the Disney is the emergence of able bodied outrage. Here I refer to a multitude of stories that question what I would classify as a reasonable accommodation for people with a disability. The most well known story about what a treat it is to have a disability pertains to airport security lines. More often than not, people with a disability do not wait on line. We are shuttled off to a different and shorter line. This is a reasonable accommodation and mitigates a multitude of different disabilities. People see this and think oh man you are so lucky. Well I do not feel lucky when I am the very first person on the plane and the very last person off the plane. I do not feel lucky when my wheelchair comes back from the belly of the plane and is damaged. I do not feel lucky when a supposedly trained person asks me to “walk just a little bit”. This too is a reasonable accommodation one I find decidedly unreasonable

At issue for me is how do we raise the level of understanding. How do we get all people to think disability rights and civil rights are one in the same? Disability studies has been ineffectual. The disability rights movement has stagnated in recent years. ADAPT demonstrations are utterly ignored by the press. So how do we educate and make the bipedal masses see disability for what it really is? I have no clue. And that is problem number one.

(via socialismartnature)

Reblogged from wesleyfreshly

this is sooooo pretty, does anyone know whose work it is?

(Source: likeafieldmouse)