Hey guys! It’s less than a week until Christmas! And what better way to prepare for the holidays than to write a piece chastising society, right? …Right?
Check out this article for reference.
There seems to be this popular notion among the pseudo-intellectual members of our society that Santa is not real. The main premise for this liberal attack on White Santa is the fact that the character of Santa in itself is completely fictional, loosely based off the historical figure: St. Nicholas. As such, being a fictional character, we should dismantle the assumed notion of a White Santa, and establish a racially diverse spectrum of Santas.
Which I think is an absolutely downright fabulous thing. But here’s the fundamental contradiction with that proposal: Santa is real. He’s as real as it gets. This figment of our childhood imaginations may not be riding on a magical sleigh led by a team of flying reindeer spying on our behavior based on his universally defined system of normative ethics and creating our presents in the North Pole through illegal elf labor and then finally delivering them through our chimneys all in one night. But he’s definitely creating a lasting impression on our children and serving as a defining symbol for our world’s most famous holiday.
The repercussions of White Santa on our society are so magnanimous precisely because he is real. What harm does it do to our country if the skin color of our fictional fantasies was assumed to be white? Not much at all, probably. But what harm does it do to our country if the skin color of our most popular and most globally validated holiday societal construct was assumed to be white?
I don’t know the exact, scientifically quantifiable answer to that question. However, I can tell you that the approximate answer does range from “kind of a lot” to “a huge freakin’ amount.”
Kids grow up and realize that Santa is not real. Because the existence of Santa can easily be debunked by a lack of observable, empirical data. However, when growing up with years of the privileged principle that almost all iconic fictional figures of society—including Santa—are white, that inherent notion is not as easy to disprove. How can our most cherished childhood heroes and saints be anything but white when the observable, empirical data of our society clearly shows otherwise?
I didn’t grow up with Santa. I actually didn’t even grow up with Christmas. Our family never celebrated the holiday. We simply didn’t have the means to do so, really. My parents were very quick in informing that Santa was not real. As such, ever since I was a child, I knew that those obese, elderly white men in a red suit with obnoxious facial hair would never actually deliver me presents on Christmas. Unlike Aisha, my bitterness did not stem from the lack of a racially diverse Santa that represented my skin tone, but rather from the fact that all of these other children were receiving material goods based on a fictional reality.
In terms of self-psychoanalysis, that might have to do with why I’m such a bitter, sarcastic asshole today. But that’s not the point. The point is that whenever I inform my friends that my family doesn’t celebrate Christmas, their responses almost always consist of emotions ranging from abject pity to utter rage. They incredulously ask, “But how can you not celebrate Christmas?” or, “Did your parents not love you?” or, my personal favorite: “Are you the devil?” Actually, yes. I am the spawn of Satan. Explains a lot, doesn’t it?
Because it’s simply not enough for our white privilege society to project this assumed notion of a White Santa on everyone else. But those who refuse to participate in this cultish ritual of delusional celebration and obnoxious glorification of this overweight asshole must also be ostracized and insulted by our white privilege society.
And all I have to say that is: fuck you. Fuck you, and fuck your Christmas.
Lastly, if you think that this article is untimely and inappropriate for the holidays, my only response is: Fuck you. Check your fucking privilege.
Anonymous asked: what did the prospect do?
There’s been some controversy to this article at The Prospect published earlier today
Hey, we’re genuinely sorry if our article offended you or anyone else! We weren’t trying to be assholes, really. That’s usually my job. You raise good points, and if anyone is still remotely interested in this controversy, continue reading.
Remember several weeks ago when blogger and writer Jincey Lumpkin called Miley Cyrus a feminist icon? Outspoken Black feminists took her to task for ignoring Miley’s exploitation of Black women. The backlash was so fierce that Jincey apologized.
Fast forward to November 13th, an ordinary day made extraordinary by the declaration of Lily Allen’s “Hard Out Here” as a feminist anthem and her video as a “genius” satire of pop videos. The video swerves into Miley’s lane featuring a relatively covered pop singer surrounded by scantily clad Black women. It features close-ups of Black women twerking, a long-standing hip hop dance for which has bizarrely been given credit Miley Cyrus. Lily Allen herself claims it’s satire but, given her iffy take on the black female body during a spat with Azlia Banks and the lyric “I don’t need to shake my ass for you because I have a brain,” timed right as one of her Black dancers bends over, it’s unclear what she’s satirizing, exactly. What is clear is that Jincey should have never apologized. Miley Cyrus IS a feminist icon and now, so is Lily Allen. They are feminist icons, and that feminism is White, cis, well-to-do and disingenuous.
Black women have been fighting for space in feminism since Sojourner asked anti-abolitionist suffragists “Ain’t I a woman?” There is a long, sad, and complicated history of white women being active participants in the (ongoing) colonization and exploitation of Black and brown women the world over. Funnily enough, Lily Allen sings in her slut-shaming “feminist” anthem “We’ve come a long way, and if you don’t see the sarcasm in that, you’re missing the point.”
We see this history come out to play when mainstream feminism shuns Black celebrities for the very things they laud their White peers for. So far, the list who gets the feminist badge looks very Caucasian and contradictory. Miley Cyrus is a feminist icon for getting naked. Lily Allen is a feminist for slut-shaming Miley Cyrus.
With this happening so frequently, it begs the question: what is the standard for mainstream feminism when it comes to claiming pop singers and celebrities?
It seems that any white celebrity who is both successful and female gets branded as some sort of feminist whether or not she has even called herself one. Looking at the low standard for who gets to be a feminist pop icon, I’m left wondering why Rihanna hasn’t gotten her badge yet. Rihanna has done more work in the field of feminism than any of the pop stars in her age group. She quite eloquently discussed rape and rape culture in her Man Down video. She chose to address domestic violence in her “We Found Love Video.” Most recently she centered the female gaze AND celebrated the athleticism of strippers in her Pour It Up video. Since the infamous domestic violence incident, Rihanna has made a commitment to live her life on her terms. It permeates her every choice, especially the ones we, the public, do not like. That alone is a powerful statement to other survivors of domestic violence, like myself.
All Miley had to do was sit on a wrecking ball, naked.
While almost every White pop star gets rewarded a feminist badge, the list of who mainstream feminism has declared “bad for the movement” looks quite uniform and Black. Beyonce suffers from internalized misogyny. Nicki Minaj is oversexed and suffers from internalized misogyny. Rihanna is a confused, oversexed victim…who suffers from internalized misogyny.
The fact is, Rihanna doesn’t get dubbed as a feminist icon for the very same reasons her white peers do: the black female body is deemed as overtly sexual. So much so Miley Cyrus can derive a sexual identity just by associating with Blackness and Lily Allen can make a critique of hyper sexuality on our backs. Rihanna being Black and female must work from proving she isn’t just a sex object. Miley gets to be naked and feminist because it is presumed that she is “innocent” and that enjoying sex—for White women like her—isn’t the norm, but a revolutionary act. This was the justification for the rape of Black women, the very reason Saartjie’s genitals were carved from her body, to prove our inherently sexual nature and to prove the White woman’s asexual (and therefore, pure) one.
When pop stars are declared to be shining examples of feminism while continuing a legacy of shaming and sexualizing black bodies, mainstream feminism is sending a clear message: we still ain’t women." “Why We Can’t Have Black Feminist Icons" written by Lesli-Ann Lewis - hoodfeminism.com
[2:29 AM] Conrad Jeong: ,3
[2:29 AM] Conrad Jeong: <
[2:29 AM] Conrad Jeong: 33
[2:29 AM] Conrad Jeong: FUJCK,
[2:29 AM] Conrad Jeong: fuck everything
Literally me when I try to show emotions ever
The Consequences of Transcending the Societal Role of the Woman
by Conrad Jeong, Claire Vannelli, and Alexandra Bratton
The Awakening by Kate Chopin introduces a unique and radical concept during her time: the freedom of women from their roles as mothers, wives, and multiple other socially established limitations enforced upon the submissive and dutiful gender. This novel depicts the life of Edna Pontellier, a wife and mother who struggles to transcend the confines that her male-dominated society has placed upon her. As the novel progresses, Edna’s gradual liberation from her societal roles through her “awakening” becomes more and more evident. This independence is apparent through both her physical and spiritual transformations, as described in the three essays to follow. Unfortunately, however, this very awakening also leads Edna to her physical death and her spiritual downfall. Despite her endeavor to attain her womanly independence, Edna is ultimately unsuccessful.
By synthesizing the three essays, many philosophical questions regarding Edna’s awakening arise: What truly revolved around her awakening? Was it as passionate and liberating as many readers perceive it to be? Or are there forces outside Edna’s external realms that will forever continue to shackle her down? The goal of combining our essays is not to reach a clear answer; rather, it is to introduce further discussion based on what many readers assume to be a simple conclusion to this novel.