It's not much of a life you're living, it's not just something you take, it's given.
(Source: sheisunapologetic)
(Source: the-diary-of-my-youth)
You GO Brad CoCo.
(via thewarnersound)
©Diana Antohe
Betty Friedan’s classic of second-wave feminism turns 50 today. The New York Times’ Jennifer Scheussler offers a reappraisal:
Indeed, some cracking its spine for the first time — as more than one commentator on the 50th anniversary has sheepishly confessed to doing — may be surprised at just how scholarly the book is. Friedan, who claimed she gave up a prestigious Ph.D. fellowship in psychology after a boyfriend said it would threaten their relationship, spent years in the New York Public Library, digging as deeply into the theories of Freud, Margaret Mead, A. H. Maslow and David Riesman as into the women’s magazines she blasted for perpetuating the mythology of the “happy housewife.”
Today that immersion in midcentury social science may make the book feel dated and more of a symbolic totem than a direct inspiration to current feminists. But to historians “The Feminine Mystique” remains a rich keyhole into the popular culture of the 1950s — even if, as scholars increasingly argue, that decade was far less monolithic in its stultifying conformism than Friedan’s best seller suggested. In an influential 1993 paper on postwar popular culture, the historian Joanne Meyerowitz argued that mass-circulation magazines of the 1950s frequently profiled women with careers, although the articles emphasized the importance of maintaining a traditional feminine identity.
More recently, other scholars have pointed out that readers encountering “The Feminine Mystique” through the excerpts that appeared in women’s magazines might not have heard an entirely empowering message. In “Mom: The Transformation of Motherhood in Modern America” (2010), the historian Rebecca Jo Plant argued that to many readers, the book seemed less like a progressive rallying cry than a continuation of the housewife-bashing of books like Philip Wylie’s 1942 best seller, “Generation of Vipers,” which blamed over-involved mothers for all manner of social ills.
For all she got right, Ms. Plant wrote, “Friedan missed — indeed, she contributed to — the frustrations many women felt due to a cultural climate that constantly denigrated mothers and homemakers.”
Still, few historians quarrel with the idea that the book galvanized women, including some who would hardly seem like natural political allies of a writer who (as the historian Daniel Horowitz revealed in his 1998 biography, to Friedan’s displeasure) cut her teeth as a reporter for radical newspapers and had a file with the F.B.I.
(Source: forsynthias)
Time’s Great Performances 2013: Quvenzhané Wallis
(Source: stephhr)
I feel as though I remember you—I’ve forgotten you for a long and sad time but now I remember. Remember. Like the misty pink daisy I rediscovered on a still summer evening, pressed between the beaks of The Raven. Its petals uneven—still—and stem arches in the same degree it bowed away from an old church’s wall on the first day I laid my eyes upon it.
You’re braided between the scents you tucked in the arch of my neck and in the confines of the old pier and between the secrets you warm my chilled bones with. I remember you with the sweater I knew I had for years but haven’t worn for just as many. I remember you in the old dust gathered in the pockets of the Metamorphosis and in the suffering I scrawled in my journal. I remember you. You, that is the light softening the darkness in my soul when it breathes ‘yes’ to Lucifer’s ‘may I have this dance?’ You, who has pressed away the creases between my eyebrows and caught my tears in your shoulder; I remember you.
And I realize only after I remember you, that the period you’ve been forgotten has been empty and sad. I realize how much I’ve missed your repressed amusement smile and fluttering lashes. Only now do I realize that I have come home from a journey I don’t remember ever starting. Only now, do I remember you and never wish for you to be forgotten once more.
(via galadrion)
(Source: tommyton)
Michael Jackson! This ablum is almost unplayable because its warped bad but I did manage to get the Instrumental recorded into Serato :-) Classic and Rare 12” of “Thriller”
