Nicki and Taylor’s little spat is a great example for how people always miss the point when racism and feminism collide. Nicki pointing out racist undertones and the reasons she got snubbed for the VMAs isn’t “pitting woman against each other”. Because being black ALONG with being a woman gives you an entire different experience when it comes to sexism and oppression. But Taylor and a lot of white feminists won’t ever get it. Just like they didn’t get it with Amandla and Kylie Jenner. Any time a black woman opens her mouth about anything she’s “”bitter” and a “bad feminist. Such bullshit.
A Virginia mother who placed a recording device in her 9-year-old daughter’s backpack to help prove to school officials that she was being bullied has been charged by police with a felony.
Local news station WAVY reports that Norfolk resident Sarah Sims grew fed up with her local elementary school’s failure to take action to prevent her daughter from being bullied. To put the school’s feet to the fire, she planted a recorder in her daughter’s backpack to show them direct evidence that she was a victim of a bullying campaign.
However, when the school found the recorder and then moved her daughter to a different classroom.
What surprised her even more, says tells WAVY, is that she was subsequently charged with a felony.Specifically, WAVY says police charged Sims with “use of device to intercept oral communication and misdemeanor contributing to the delinquency of a minor,” which could carry up to five years in prison.
3) Black people are assumed to be less trustworthy than white people. (http://www.pnas.org/content/108/19/7710.full) Therefore, a white child who reports bullying is more likely to be taken at their word. The same is true for the parents who report bullying to the school.
4) Black people are more likely to be punished and more severely. (https://www.nytimes.com/2016/12/17/opinion/sunday/unequal-sentences-for-blacks-and-whites.html) At every level of the criminal justice system, there’s a disparity between white consequences and Black consequences and in any given situation, there’s a higher probability of someone seeking legal recourse against a Black person than a white one.
5) White women get to be protected and coddled and Black women do not. I don’t need a link for that because we all have eyes and ears.
A male colleague was making fun of the #metoo movement a few days ago, and many more (I’m one of 5 women in a department of 200 men) joined in. So I raised my voice and said I was glad women were speaking up about sexual harassment and assault and that I hoped that everyone who perpetuated this toxic behavior got taken down.
“Yeah but it’s a trend now, lots of them are just saying it for their 15 minutes of fame.” He then continued to say that he didn’t know anyone who had been harassed or any man who had done it.
I asked him if he had a daughter. He did. I asked him how old she was. She was was 17. I told him I’d bet my rent money that his daughter had experienced sexual harassment.
“That’s impossible.”
“Did you ask her?”
“No.”
“Well then, do it.”
The next day, he came in the office with five bouquets of flowers for all the women in our department, including me. He publicly apologized for making fun of sexual harassment and for making our lives harder by doing so. He said that he simply hadn’t known how widespread it was. Apparently, his daughter deals with it very regularly. She hadn’t told him because of the way he spoke about assault cases that were on the news. She thought he’d think less of her if she’d mention it. It was her idea that he should make a public announcement. He said he felt like a bad father.
I said: “You were. Same goes for everyone who laughed with you. Be better, now you know better. And educate other men that still think the same way you did yesterday. And next time someone tells you about an experience they have, don’t automatically assume that because you haven’t seen it, it’s not true. That kind of willful ignorance is why we still deal with this shit.”
He also offered to pay my rent as that was part of the bet, but I told him I’d rather have him put effort in being a person his daughter and wife could be proud of.
In conversation the other day my mom stopped and asked my dad about what percentage of women he thought had experienced sexual harassment. He said about 20-30% maybe. My mom told him that both of us had been harassed multiple times at work (same goes for both of her sisters) and that she had actually been assaulted by a groper on a public bus. I have never seen anyone’s face go slack so quickly before as he realized that literally every woman in his family had experienced this. And while I’m glad he believed us and has changed his view on that subject I still can’t shake the frustration, the anger, that it required being sat down and spoonfed these incidents that we didn’t particularly wanted to relive. This is something that women have been saying for years, but men just never listen. Not even when they’re forced to sit in mandatory harassment in the workplace training seminars.
María del Carmen Mondragón Valseca, also known as Nahui Olin (b. Tacubaya, today Mexico City, July 8, 1893 – d. Mexico City, January 23, 1978) was a Mexican artist’s model, painter and poet.
Carmen Mondragón was the fifth of eight children of General Manuel Mondragón, Secretario de Guerra y Marina in 1913 and inventor of the Mondragón rifle. Her mother was Mercedes Valseca. Carmen Mondragón received a privileged education in Mexico, and afterwards from 1897 to 1905 in France, learning to speak French fluently. The professional activities of General Mondragón, who specialized in artillery design, led the family to Spain in 1905, where she met cadet Manuel Rodríguez Lozano, whom she married on August 6, 1913. Although General Mondragón went into exile to Belgium after the occurrences of the Decena Trágica, Carmen Mondragón moved to Paris with her husband, where they met Pablo Picasso, Henri Matisse and Jean Cocteau. Afterwards they moved to San Sebastián, Spain, where Carmen’s brother Manuel ran a photo studio. In San Sebastián, both started painting.
In 1921 both returned to Mexico, where they went separate ways. Whether they were ever divorced is unknown. Carmen Mondragón turned towards the artists’ scene of Mexico City, got contacts with José Vasconcelos and Xavier Villaurrutia, and was interested in the Teatro Ulises movement. She had multiple sexual affairs. Her beauty is described as mesmerizing and erotic, and she was apparently the first woman in Catholic Mexico who wore a miniskirt. She became model of several notable painters and photographers, among others posing for some of Diego Rivera’s murals, for Tina Modotti, Antonio Garduño, Roberto Montenegro, Matías Santoyo, Edward Weston and in 1928 for Ignácio Rosas at the Escuela Nacional de Bellas Artes.[3] Especially her nudes became famous. When a former French teacher of her recognized her pictures, he published A dix ans sur mon pupitre (From my desk, at 10 years old), a book of 1924, which describes the 10-year-old pupil Carmen Mondragón within his teacher’s sight. Carmen Mondragón had an intense love relationship with Gerald Murillo, also known as Dr Atl, who named her “Nahui Olin”, a symbol of Aztec renewal meaning “four movement”, the symbol of earthquakes. They lived together in the former La Merced Cloister. At this time she wrote her poems Óptica cerebral, poemas dinámicos (1922) and Calinement je suis dedans (1923), finished several naïve paintings, and composed. As intensely as the love relationship began, it ended equally quickly in the mid-1920s. Later she denied it completely. After having several further affairs, she stepped out of public life in the 1940s.
Carmen Mondragón is considered one of the talented and revolutionary women who formed the 1920s and 1930s in Mexico by activism and creativity, like Guadalupe Marín, Antonieta Rivas Mercado, Tina Modotti, Lupe Vélez and María Izquierdo. Her popularity was due more to her beauty than to her artistic and literary work. She herself described her work as intuitive. All her self-portraits show oversized, green eyes, but her eyes seem highlighted also in paintings by other artists. Many of her works are undated.
Her works were exhibited in the National Museum of Mexican Art in Chicago in 2007, in an exhibition titled A Woman Beyond Time/Nahui Olin: una mujer fuera del tiempo.
As thanksgiving approaches and many of you will be feasting with your families, i just want to take the time to remind yall that the food you eat is planted and picked by exploited people of color. So I encourage yall to donate to any of these organizations that work with farmworkers and their families:
