Wayne Goss is a 37-year old makeup artist with 15 years of experience and nearly a million YouTube followers. Lately he’s been receiving a lot of requests from female clients to make them up drag queen style, in large part due to the popularity of the drag queen look on television and social media. As Goss illustrates, drag queens use makeup to create the feminine look already inherent in female faces. Essentially, he’s been asked to mask natural femininity with a false face, leading him to question how we interpret the female look and concepts of natural female beauty.
— Project Pat Sajak (@ParisBurned) January 25, 2015
A few days ago a friend of mine who loves and lives vintage shared this gem from HuffPo showing a series of modern-day “pin-up” pics paired with the argument that “every body is gorgeous.” The pin-ups, all retro-themed, featured a varying number of body shapes and types in clever poses and even cleverer clothing designed to hint at sex. Because sex, good sex, ultimately relies on stimulating the human imagination. Bad sex, on the other hand, has everything to do with telling the mind what to think instead of letting it take the hint. Which is why sex today, quite frankly, stinks.
Play the body-positive feminist angle of the photos all you want. What really makes these photos awesome is that they are a reminder of a time when sex was a hint and women were in control of exactly how far they went with the nudge, the wink, the euphemism, and the nudity. Contemporary feminists love to argue that being completely naked in public is the ultimate proclamation of sexual power, because they cannot comprehend the unspoken language of sex. Anything that isn’t laid out clearly in a multi-part contract is somehow an inconclusive sexual assault. No wonder they love gays and lust after drag queens. These are the only demographics still allowed to speak the unspoken language of glamour and inference. The shaggy-haired, pantsuited crew wishes they could be that comfortable in a sparkling evening gown and heels.
The truth is, contemporary feminists don’t know how to handle the power that comes with the clothes. Naked they get. Naked comes with a contract and court protection. The resulting shock value, best left to celebrities on red carpets protected by the lens of the camera, is especially defended and praised. Second-wave theorists once decried cinema’s voyeuristic male gaze. Now they taunt it openly, flashing breasts and bottoms to the point of sheer boredom, arguing that familiarity with the naked figure will somehow both grant women ownership of their bodies and tame evil male lust. (Tell that one to the booming porn industry.)
No one is more adept at the naked game than Miley Cyrus, Disney’s good girl-gone-bad who has apparently decided to challenge Lena Dunham at her own flesh-revealing game. Her latest shoot for V magazine wasn’t a shoot, per se, as much as a catalog of naked Polaroids (the Insta-variety no doubt) snapped by a friend while on her latest tour. Compare her nude antics to original Disney bad girl Annette Funicello, who ignored Disney’s advice and dared to bare her navel in a two-piece for a series of bikini beach movies in the 1960s. Funicello’s legacy is that of teen sex symbol. Miley’s on the other hand is that of teen slut.
— Nora (@nora_da_xplora) November 1, 2014
In the Slut Walk era, Miley is just another bare-breasted woman in the crowd of feminists bent on denying psychology and biology through visual over-stimulation and court-protected denial of responsibility for inevitable consequences. As Camille Paglia so smartly comments to the pro-slut crowd:
Don’t call yourself a slut unless you are prepared to live and defend yourself like one. My creed is street-smart feminism, alert, wary, and militant—the harsh survival code of streetwalkers and drag queens. Sex is a force of nature, not just a social construct. Monsters stalk its midnight realm. Too many overprotected middle-class girls have a dangerously naive view of the world. They fail to see the animality and primitivism of sex, historically controlled by traditions of religion and morality now steadily dissolving in the West.
The sexual revolution won by my 1960s generation was a two-edged sword. Our liberation has burdened our successors with too many sexual choices too early. Their flesh-baring daily dress is a sex mime to whose arousing signals they seem blind. Only in a police state, and not even there, will women be totally safe on the streets. Honorable men do not rape. But protests and parades cannot create honor.
Contemporary feminism isn’t just about nudity. Its ancient, paganesque obsession with body image puts more demands on a woman’s body than the simple shedding of attire. Ancient Jews who desired to fit in with their Greek overlords painfully reversed their circumcisions. Today’s women go to great lengths to emasculate their otherwise feminine figures to do what, exactly? Pursue a level of strength biologically and psychologically associated with the male gender? Or carve a comfortable trans-niche of their own, not quite glam like the drag divas but not nearly as boring as the Hillaryesque powersuit crowd?
Whether it’s female body building or superhero chic, flat abs, four-packed and more, are now the ultimate pursuit in female happiness. Women once considered themselves liberated from the forced flat abs of the corset generation. Now they’re demanding their own bodies do the work of the whale bones. Cinched in tight, these picture-perfect bodies eliminate the belly pouch made famous in elegant female art for centuries. (The un-tightened belly pouch that also makes the round ligament pain common in an expanding pregnant belly easier to bear.) Goodbye, Botticelli’s bellies and all the promise of fertility within, hello flat abs and the emasculated figures that come with them.
Hyper-muscular demands on a feminine physique can have more than just an aesthetic effect on their womanhood:
A Norwegian population-based survey of nearly 4,000 women under 45 found a clear link between exercise intensity and fertility. Women who were active most days were more than three times more likely to have fertility problems than inactive women. And those who exercised to the point of exhaustion were more than twice as likely to be infertile than those who engaged in less strenuous activities, according to results published in Human Reproduction.
It is the great irony of flat abs and nude figures that women, who claim to possess a greater hold over their own sexuality, are in fact rendering themselves powerless over their own sex. Whether they are work-out freaks who reduce their chances of becoming mothers or women insisting that baring it all isn’t an invitation to a dangerous sexual encounter, contemporary feminism has crafted a cadre of goddesses willing to sacrifice themselves on the altar of so-called liberation. The only thing they’ve been liberated from is the one thing they’re after: Being thought of as sexy.
This year Mount Holyoke college, an all-women’s school in Massachusetts has cancelled its annual production of Eve Ensler’s play The Vagina Monologues. The once controversial work, which in 20 years has become a staple of the American theater canon, is accused of being trans exclusive. That is to say that the play’s focus on the vagina is somehow insulting to trans women who were born without one. According to Campus Reform, the show’s producers cancelled it because they have grown “increasingly uncomfortable presenting material that is inherently reductionist and exclusive.”
Ensler wrote a response in Time magazine this week refuting the allegations that her work is anti-trans. She points out that trans actors have preformed the work for years and that the piece is in no way suggesting that only women with vaginas are women. The response is far too generous to her accusers. These overzealous censors at Holyoke are engaged in a dangerous game here, and one that ultimately hurts women.
The Vagina Monologues is one of the best-respected, most-produced and most widely known works of feminist playwriting in our culture’s history. Almost every female actor you have ever heard of has performed the piece at some point. And for a generation of female playwrights the piece was a green light to tell the story of female experiences without cringing at the nasty bits. Thirty years ago it was some conservatives who found Ensler’s focus on the vagina to be offensive. Today it is progressive, so-called feminists who think the vagina must not be spoken of so as not to offend or demean women with penises.
Last year I wrote a piece for the The Federalist arguing that conflating the work of trans-women playwrights with the work of women born as women would result in less opportunity and diminished respect for the latter. In a response in the Transadvocate, a leading trans magazine, Marie Bright accused me of being a white, cis, male writer who is a transphobe. Bright wrote “The view that somehow desiring including trans* perspectives is an inherent invalidation of the female identity and a slide down a slippery slope to excluding women’s voices has zero basis in reality.”
Well, here’s some basis in reality. If arguably the most seminal play by a woman about women can be silenced for its supposed transphobic transgressions then so can any play by any woman born a woman. That’s not good for women, it’s not good for men, it’s not good for art and it has to stop.
This Little Girl Just Schooled Tesco Over A Sexist Sign Because “Anybody Can Like Superheroes” http://t.co/Gp9rGmNvlA
— Natalie Brown (@Natalie_Brown) January 11, 2015
When you’re constantly relying on a third party to define your sexuality, you’re inevitably going to write yourself onto the sidelines of social activism, which is precisely what contemporary feminism is currently doing. With its insane Marxist belief that biological “sex” and “gender” are two separate entities that do not overlap or influence each other, contemporary feminism has bought into postmodern subjectivity. Issues are left to be parsed in terms of value judgments rendered by individuals on the basis of sheer whim. This includes defining what it means to be a woman.
It’s bad enough when contemporary feminists attack shopping malls for categorizing “boys” versus “girls” clothing. The complaint is always the same: “My daughter wanted a superhero shirt that was unavailable in the girls’ department!” Pants were unavailable in the girls’ department 100 years ago. Women wore them anyway. Instead of raising independent thinkers, contemporary feminists raise dependent complainers who derive their entire sense of gender identity from a store’s marketing department. This is the dark side of allowing society to define your gender. Suddenly a generation of women is convinced they have male tendencies because they have a penchant for Superman. It couldn’t be that they want to wear his logo because they find him strong, appealing, or — God-forbid — attractive. Because his logo is sported in the boys’ department only, it must mean any little girl who wants to wear his shirt is obviously a trannie.
Don’t let the stereotypical G.I. lunks distract you with their butt-smacking, “don’t you need to file something” portrayal of 1940s masculinity. Marvel’s Agent Carter is far from your oh-so-played-out second wave feminist portrayal of manhood – and womanhood, for that matter. Which is why it’s the best show going on television for feminism today.
For every lunk there’s a hero, Carter’s colleague Agent Sousa being one of them. One brilliant expository exchange sets the tone, demonstrating exactly how appealing real men find Carter’s fearless independence:
Carter: “I’m grateful. I’m also more than capable of handling whatever these adolescents throw at me.”
Sousa: “Yes, ma’am. Doesn’t mean I have to like it.”
Carter: “Well that’s another thing we have in common.”
Carter is a fully empowered female. Sousa knows it, respects it, and likes it. And Carter likes him for it. This kind of His Girl Friday exchange gets equity feminism the screen time our culture so desperately needs. Unlike her Avengers’ counterpart the Black Widow, Agent Carter isn’t squished into slicked up body suits and forced to perform gymnastic feats in order to intrigue her male audience. And unlike gender feminists, Carter draws authority from her sex and uses it to save the day.
Denny Burk, professor of biblical studies at Southern Baptist Theological Seminary in Louisville, Kentucky, recently addressed the Southern Baptist Convention’s Ethics and Religious Liberty Commission on the subject of transgender.
Saying that the gay marriage battle is all but over, Burk believes “sexual revolutionaries are turning their attention to the ‘T’ in LGBT” which will lead to significant cultural changes.
Burk, author of What Is the Meaning of Sex?, said,
At the heart of the transgender revolution is the notion that psychological identity trumps bodily identity. In this way of thinking, a person is whatever they think themselves to be. If a girl perceives herself to be a boy, then she is one even if her biology says otherwise. If a boy perceives himself to be a girl, then he is one even if his biology says otherwise. Gender is self-determined, not determined by the sexual differences that the Creator has embedded into every cell in our bodies.
He doubts that most Americans have thought through the implications of accepting without question that psychological identity should trump biological identity when there is a conflict.
Burk gave the example of a man named John who was featured on Fox News a few years ago. He felt like he was a one-legged man trapped in the body of a man with two legs. “When I see an amputee — when I imagine the amputee — there is this inner pull that says ‘why can’t I be like that?’” the man asked. It wasn’t until after 42 years of marriage that he revealed this “secret” to his wife. He suffers from what psychiatrists call “body integrity identity disorder.” The only known cure is amputation of the offending body part.
“The primary ethical question is whether a man in John’s position would be right to amputate an otherwise healthy limb,” Burk said. “Would it be right for a doctor to remove his leg so that John can feel whole? If John feels himself to be a one-legged man inside a two-legged man’s body, why not encourage him to have his leg amputated? At a gut level, most people recoil at the suggestion. Nevertheless, this is the implication of the view that psychological identity trumps bodily identity,” he said.
Typically, individuals who suffer from such a disorder cannot find physicians to accommodate their requests for amputations, and they are not encouraged to amputate otherwise healthy limbs. Most people would say the individual’s thinking needs to be altered rather than taking drastic steps to alter the body.
Five-year-old Suzie heads off to kindergarten in rural Minnesota. She settles into her class routine full of activity, discovery, and friendship.
Then the day takes a turn. As part of newly mandated diversity training, Suzie’s teacher brings out Heather Has Two Mommies for some light mid-morning reading. A typically precocious kindergartener, Suzie pipes up during the story to correct the teacher’s telling. “God gave us a mommy and a daddy,” she exclaims.
Though no student takes exception to Suzie’s remark, the teacher cringes and becomes keenly aware of her state-mandated role to report any incident which could be construed as bullying. So Suzie gets pulled out of class and taken to the principal’s office, where she’s met by a counselor.
There begins a process of formative intervention and remedial discipline. More than correction for objectively inappropriate behavior, this intervention focuses on changing who Suzie is, on correcting her values to ensure that she accepts each of her classmates and values their diverse backgrounds.
Confused, disturbed, and teary-eyed, Suzie comes away from the experience convinced she has done something wrong. Worse, she feels the very sense of rejection which her accusers claim to deplore. She learns her lesson, that the values taught at home are not welcome in school. A bit of her innocence dies. She grows more guarded, less expressive, and unfairly subdued.
Such a tale may be among the tamest of experiences awaiting children in Minnesota, if a task force of social engineers commissioned by Governor Mark Dayton succeeds in lobbying for legislation which has already been approved by the state House. House File 826, misleadingly titled the Safe and Supportive Schools Act, serves as a trial balloon modeling what its supporters would like to implement nationally – a radical transformation of schools from institutions of academic achievement into political reeducation camps which correct Orwellian Wrong Think.
Sold colloquially as an “anti-bullying bill,” the proposed legislation actually institutionalizes bullying, targeting political minorities with suppressive badgering. The bill would repeal existing anti-bullying statutes which have proven effective. It would create an invasive, overbearing, and unfunded new state bureaucracy to impose politically correct values upon students, teachers, parents, staff, and anyone serving in or around the educational system. It would affect both public and private schools. In a state which already has one of the worst achievement gaps between white and black students in the nation, the bill would burden struggling districts with new mandates diverting precious resources away from academics. Teachers and staff will become thought police and value mediators, shifting their disciplinary focus from correcting inappropriate behavior to remediating students’ belief systems. As with any state bureaucracy, reams of new data will be generated and follow students throughout their academic career, if not the rest of their lives.
Samuel Lamb defied the Communist Chinese. A leader in the underground Christian community, Lamb passed away earlier this month in Guangzhou, where he ran a house church for decades. Voice of the Martyrs reports:
When the Communist Party took control of China in 1949 under Mao Zedong, Christians were forced underground or forced to submit to Party control. Those that refused were interrogated, arrested, tortured, imprisoned or even killed. Samuel Lamb became one of the best known of these persecuted church leaders.
Lamb first tasted prison in 1955, when he was sentenced to serve 18 months. He was imprisoned again in 1958, this time receiving a 20-year sentence. Part of his sentence was spent serving forced labor in coal mines, where working conditions were deplorable and many prisoners died. Lamb would later talk about how God preserved his life even in the midst of such dangerous work.
For most American Christians, Lamb’s experience lays so far outside our own that it can be hard to perceive as modern. Living as we do in a land of relative religious liberty, we understand persecution only as an intellectual concept. It lurks in the depths of church history, or haunts the horizon of a distant future glimpsed through biblical prophecy. The idea of facing persecution today, in present America, seems unthinkable at first consideration. After all, we’ve spent our whole lives driving past a church on every corner, swearing oaths on copies of the Bible, and covering our hearts while swooning over the Land of the Free.
Be that as it may, as the culture makes radical shifts in the 21st century, the price of Christian confession begins to rise. If certain coalitions have their way, adherence to the Christian faith will be regulated out of public existence. Oh, the church buildings may stand, and 501(c)3s operating in the name of Christ may remain. But biblical Christianity taught without compromise will be relegated to underground enclaves like those formed under the Communist Chinese.
The director of “The Matrix” and the highly-anticipated film “Cloud Atlas” has become the first major Hollywood director to publicly come out as transgender.
Lana Wachowski revealed she has transitioned while promoting her new film, the New York Post reported.
Lana has been transitioning for years now, the Post also reported. This new clip for “Cloud Atlas,” starring Tom Hanks and Halle Berry, appears to be her first public appearance since transitioning.
In the trailer, Lana introduces the film with her brother, Andy Wachowski, and director Tom Tykwer.
“Hi, I’m Lana,” she says with her hair styled in pink dreadlocks.
Lana’s personal life has been a source of headline fodder for years now.