American Pie and But I'm A Cheerleader were both released in 1999.

booklandreeve:

American Pie features:

  1. A pact between four straight high school boys to have sex by any means necessary.
  2. A male character masturbating into a pie.
  3. A humorous depiction of filming a high school aged girl in a sexual situation without her knowledge or consent, and broadcasting that to the
  • Some MRA/Anti-Feminist Arguments

    MRA/AF argues that if you accept chivalry, you want preferential treatment and believe you are superior. However, they also argue that if you REJECT chivalry, you are ungrateful and unrealistic.

    MRA/AF point out how much physical work men have to do in industrial, heavy labor, service fields and how this is further evidence feminists or women want preferential treatment. But when feminists fight for women to have these fields open for them, they are told they can't do it anyway.

    MRA/AF point out how men usually get the dangerous, combative military jobs and this goes to show how EASY women have it. But once again, when feminists fight for women to have equal opportunity in these DANGEROUS, LIFE-THREATENING fields, they are told that women should not have those options.

    MRA/AF point out that men are also gender stereotyped, but fail to address that these stereotypes typically work in reinforcing their privilege/working in their favor. Usually stereotyping them as being the more competent, logical, intelligent and more powerful out of all genders and/or sexes.

    MRA/AF points out that men are also idealized in media, but fail to analyze that these idealizations fit within male power fantasies of physical prowess/physical power, athleticism and having the ability to intimidate simply by using one's presence or body.

    MRA/AF point out that men are also "sexualized" in media, but fail to address that this so-called sexualization usually involves them initiating sexual encounters, flaunting their virility and potency through a barrage of media that glamorizes straight male sexuality (e.g. - music videos, ads, etc) and portrays this sexuality as something that can be used to GAIN STATUS. While women who are sexually active and overt about it LOSE cultural status.

    MRA/AF argue that men are more oppressed than women, while completing ignoring the fact that most countries are ran by men, most media corporations are also ran by men and most of the worlds resources are distributed and controlled by men.

    MRA/AF argue that the fact the world is patriarchal is EVIDENCE of women's inherent incompetence, while simultaneously ignoring how cultural conditioning to conform to gender stereotypes would make political and corporate fields less appealing to many women and also how workplace discrimination plays a role in hindering a woman's ability to be promoted into positions of power with equal pay. They also fail to assess the issue on a historical level, ignoring how centuries of being denied access to equal education is what has made the number of female inventors, philosophers, academics, etc, far less in comparison to the number of males who had the opportunity to specialize in fields of their choice and to harness their potential.

    MRA/AF argue that feminism is no longer necessary, while at the same time referring to male feminist allies with misogynistic and homophobic slurs meant to intimidate them out of their political and ideological views on gender equality. They are often called in MRA circles, "manginas" and "gender traitors." Women in general are subjected to hateful, gendered slurs even if they are not defending feminism. Our degraded status is the default setting our society has placed us at.

    MRA/AF argue that feminists think all men are naturally "dogs" or hormonal, neanderthal-like brutes but when feminists try to place emphasis on using diplomacy in place of violence, and assertion over aggression, feminists are accused of trying to "feminize" men (with the stigma that encouraging compassion, empathy and constructive verbal reasoning over physical violence is a BAD THING!!).

  • socimages:

    Girl-on-girl action: A new visual landscape.

    Perusing my Facebook feed, I came across a photo proudly posted by a former student — now a hair and makeup artist — of two brides at a wedding.  It was beautiful and the young, conventionally attractive brides were leaning in for a kiss.  

    When I saw the image, my mind immediately pulled up similar images it has in storage — frequently described as girl-on-girl action – and I was struck by the similarity of the images and their powerfully different messages.

    Until recently, girl-on-girl action was the only type of visual that showed women kissing. Genuine and open female same-sex attraction was almost entirely invisible, hidden and denied.  Today, the proliferation of same-sex marriages offer a new visual landscape for framing what it means for two women to kiss each other.

    The meaning, moreover, could not be more different.  Girl-on-girl action shots are ostensibly between two heterosexually-oriented women who are kissing for male attention.  These brides are doing the opposite of that.  They are displaying love and commitment to one another. The kiss is for them and no one else and they are, implicitly if not actually, openly committing to making themselves sexually unavailable to anyone else, male or female.  This is far from kissing a girl to get boys to want you.

    I wonder how these images — ones that depict sexual intimacy between women who love one another and do not seek male attention — will ultimately change how we think about “girl-on-girl” action in the U.S.  As they proliferate, will they push back against the male-centrism and heterocentrism of our society?  I think they very well might.

    Congrats to the newlyweds! Their wedding photos can be found herehere, and here.

    Lisa Wade is a professo1r of sociology at Occidental College and the author of Gender: Ideas, Interactions, Institutions, with Myra Marx Ferree. You can follow her on Twitter and Facebook.

  • b-o-i-culture:

    Evolution.

  • Aren’t there enough words flowing in your veins to keep you going.

    - Margaret Atwood (via listentothestories)

    (via listentothestories)

  • I just know for myself, I struggle with so much trauma. I struggle with so many demons every single day. And that’s okay. That’s okay, but I want us to begin to create spaces where we can gently love ourselves more so that we can love each other more and really lift each other up and really support each other. I think sometimes we have trouble doing that because we really don’t love ourselves enough. If I’m not loving myself, I want to run the other way from somebody who looks like me and who has a similar experience.

    - Mey’s interview with Laverne Cox (via fuckyeahautostraddle)

    (via autostraddle)

  • owlturdcomix:

    Marvel should call any minute now.

    (via haveyouseenaladyfairer)

  • vampire-daughter:

awwww-cute:

Don’t use the vacuum in the same room as her

OH MY GOSH DYING

    vampire-daughter:

    awwww-cute:

    Don’t use the vacuum in the same room as her

    OH MY GOSH DYING

    (via haveyouseenaladyfairer)

  • metaphorformetaphor:

    I didn’t like having to explain to them, so I just shut up, smoked a cigarette, and looked at the sea.

    — Albert CamusThe Stranger. Vintage, 1989

    (via loveyourpoetry)

  • soundboard:

    SBTRKT - New Dorp, New York (feat. Ezra Koenig)

    A dream collaboration of mine happened today. Granted, I wasn’t aware it was a dream collaboration until I heard that it had happened. Regardless, I’m incredibly excited as SBTRKT announced his sophomore album, Wonder Where We Land, and dropped the first single. “New Dorp, New York” is both slick and funky, and it features Ezra Koenig, who is quickly becoming the cultural zeitgeist, singing “Gargoyles gargling oil” in a deadpan manner. What’s not to love?

    -Andrew