The all-time U.S. leading goal scorer is Abby Wambach, with 167 goals, followed by Mia Hamm (158), Kristine Lilly (130), Michelle Akers (105) and Tiffeny Milbrett (100). In fact, Abby Wambach is the all-time leading goal scorer in the world, among all soccer players, male or female.
Lavoisier is having none of your shit.
Heeeey so fun fact: the woman in that painting is Lavoisier’s wife, Marie-Anne Pierrette Paulze, who not only acted as Lavoisier’s lab assistant but also translated English and Latin texts into French so he could read them. But she didn’t just translate, she pointed out errors in the chemistry in some of the texts. Her observations of these errors convinced Lavoisier to study combustion, which led to his discovery of oxygen. She was also critical to the publication of Lavoisier’s Elementary Treatise on Chemistry in 1789. She kept strict records of every experiment they conducted together and drew detailed diagrams of all their equipment. She also threw amazing parties and invited all the brightest minds in science so her husband could pick their brains. After Lavoisier was guillotined she secured all of his notebooks and equipment for posterity.
In short: NOBODY KICKS MADAME LAVOISIER OUT OF THE LAB.
Also, a side note: My historian husband-to-be pointed some things out to me about this painting. Notice that Madame Lavoisier is looking at the viewer, and all the light is on her, while Lavoisier himself is physically smaller than her, in shadow, and looking up to her in reverence. This isn’t a candid photograph- all of these choices are deliberate. The painting isn’t of Lavoisier- Madame Lavoisier is meant to be the central subject.
I can just imagine Lavoisier telling all his colleagues that his wife is really the one with all the clever ideas, and them patting him on the back and telling him he’s sweet for saying so.
I LOVE IT
Sarah Waheed notes: “One of the students in my modern South Asia history class a few years ago, was extremely upset that the book we were reading referred to the Bengal famine as a holocaust, calling the author ‘biased’. When I asked him to clarify and elaborate upon what he meant by ‘biased’, he exclaimed, inflamed, “There was only one holocaust!” The rest of the students were, however, more open to the idea of the 20th century being a century of multiple holocausts. The terms ‘holocaust’ and ‘genocide’, however, continue to elicit trauma envy.”
Female figurine from the Hohle Fels cave near Stuttgart, about 35,000 years old. Interpreted as a pornographic pin-up.
“The Earliest Pornography” says Science Now, describing the 35,000 year old ivory figurine that’s been dug up in a cave near Stuttgart. The tiny statuette is of a female with exaggerated breasts and vulva. According to Paul Mellars, one of the archaeologist twits who commented on the find for Nature, this makes the figurine “pornographic.” Nature is even titling its article, “Prehistoric Pin Up.” It’s the Venus of Willendorf double standard all over again. Ancient figures of naked pregnant women are interpreted by smirking male archaeologists as pornography, while equally sexualized images of men are assumed to depict gods or shamans. Or even hunters or warriors. Funny, huh?
Consider: phallic images from the Paleolithic are at least 28,000 years old. Neolithic cultures all over the world seemed to have a thing for sculptures with enormous erect phalluses. Ancient civilizations were awash in images of male genitalia, from the Indian lingam to the Egyptian benben to the Greek herm. The Romans even painted phalluses on their doors and wore phallic charms around their necks.
But nobody ever interprets this ancient phallic imagery as pornography. Instead, it’s understood to indicate reverence for male sexual potency. No one, for example, has ever suggested that the Lascaux cave dude was a pin-up; he’s assumed to be a shaman. The ithyphallic figurines from the Neolithic — and there are many — are interpreted as gods. And everyone knows that the phalluses of ancient India and Egypt and Greece and Rome represented awesome divine powers of fertility and protection. Yet an ancient figurine of a nude woman — a life-giving woman, with her vulva ready to bring forth a new human being, and her milk-filled breasts ready to nourish that being — is interpreted as pornography. Just something for a man to whack off to. It’s not as if there’s no other context in which to interpret the figure. After all, the European Paleolithic is chock full of pregnant-looking female statuettes that are quite similar to this one. By the time we get to the Neolithic, the naked pregnant female is enthroned with lions at her feet, and it’s clear that people are worshipping some kind of female god.
Yet in the Science Now article, the archaeologist who found the figurine is talking about pornographic pin-ups: “I showed it to a male colleague, and his response was, ‘Nothing’s changed in 40,000 years.’” That sentence needs to be bronzed and hung up on a plaque somewhere, because you couldn’t ask for a better demonstration of the classic fallacy of reading the present into the past. The archaeologist assumes the artist who created the figurine was male; why? He assumes the motive was lust; why? Because that’s all he knows. To his mind, the image of a naked woman with big breasts and exposed vulva can only mean one thing: porn! Porn made by men, for men! And so he assumes, without questioning his assumptions, that the image must have meant the same thing 35,000 years ago. No other mental categories for “naked woman” are available to him. His mind is a closed box. This has been the central flaw of anthropology for as long there’s been anthropology. And even before: the English invaders of North America thought the Iroquois chiefs had concubines who accompanied them everywhere, because they had no other mental categories to account for well-dressed, important-looking women sitting in a council house. It’s the same fallacy that bedevils archaeologists who dig up male skeletons with fancy beads and conclude that the society was male dominant (because powerful people wear jewelry!), and at another site dig up female skeletons with fancy beads and conclude that this society, too, was male dominant (because women have to dress up as sex objects and trophy wives!). Male dominance is all they can imagine. And so no matter what they dig up, they interpret it to fit their mental model. It’s the fallacy that also drives evolutionary psychology, the central premise of which is that human beings in the African Pleistocene had exactly the same values, beliefs, prejudices, power struggles, goals, and needs as the middle-class white professors and students in a graduate psychology lab in modern-day Santa Barbara, California. And that these same factors are universal and unchanged and true for all time.
That’s not science; it’s circular, self-serving propaganda. This little figurine from Hohle Fels, for example, is going to be used as “proof” that pornography is ancient and natural. I guarantee it. Having been interpreted by pornsick male archaeologists as pornography because that’s all they know, the statuette will now be trotted out by every ev psycho and male supremacist on the planet as “proof” that pornography is eternal, that male dominance is how it’s supposed to be, and that feminists are crazy so shut the fuck up. Look for it in Steven Pinker’s next book. ***
P.S. My own completely speculative guess on the figurine is that it might be connected to childbirth rituals. Notice the engraved marks and slashes; that’s a motif that continues for thousands of years on these little female figurines. No one knows what they mean, but they meant something. They’re not just random cut marks. Someone put a great deal of work into this sculpture. Given that childbirth was incredibly risky for Paleolithic women, they must have prayed their hearts out for help and protection in that time. I can imagine an elder female shaman or artist carving this potent little figure, and propping it up somewhere as a focus for those prayers.
On the other hand, it is possible that it has nothing to do with childbearing or sexual behavior at all. The breasts and vulva may simply indicate who the figure is: the female god. Think of how Christ is always depicted with a beard, which is a male sexual characteristic, even though Christ isn’t about male sexuality. The beard is just a marker. Or, given the figurine’s exaggerated breasts, it may have something to do with sustenance: milk, food, nourishment.
The notion that some dude carved this thing to whack off to — when he was surrounded by women who probably weren’t wearing much in the way of clothes anyway — is laughable.
magical creatures helping other magical creatures (✿◡‿◡)
"Bessie Stringfield’s life is the stuff of which legends are made. Bessie has been mentioned in books, magazines, newspapers and television documentaries. In 1990, when the American Motorcyclist Association opened its Motorcycle Heritage Museum, Bessie featured in its inaugural exhibit on Women in Motorcycling. A decade later the AMA created the Bessie Stringfield Award to honor women who are leaders in motorcycling. In 2002, she was inducted into the Motorcycle Hall of Fame. Bessie, or BB as she was known among friends, described over 60 years of motorcycling: “I was somethin’! What I did was fun and I loved it.”
In the 1930s and 1940s Bessie made eight long-distance, solo rides across the United States. Speaking to a reporter, she dismissed the idea that “nice girls didn’t ride motorcycles in those days.” She was also seemingly fearless about riding through the Deep South when racial prejudice was a tangible threat.
Born in Kingston, Jamaica, in 1911, she was brought to Boston as a young child but was orphaned by the age of 5. “An Irish lady raised me,” she recalled. “I’m not allowed to use her name. She gave me whatever I wanted. When I was in high school I wanted a motorcycle. And even though good girls didn’t ride motorcycles, I got one.” She was 16 when she climbed aboard her first motorbike, a 1928 Indian Scout, and, despite having no prior knowledge of how to operate it whatsoever, Bessie proved to be a natural. She insisted God gave her the skills. ”My [Irish] mother said if I wanted anything I had to ask Our Lord Jesus Christ, and so I did,” she said. “He taught me and He’s with me at all times, even now. When I get on the motorcycle I put the Man Upstairs on the front. I’m very happy on two wheels.” She was especially happy on Milwaukee iron. Her one Indian notwithstanding, Bessie said of the 27 Harleys she owned in her lifetime, “To me, a Harley is the only motorcycle ever made.”
At the age of 19 Bessie Stringfield began tossing a penny onto a map and then riding to wherever it landed. She covered all of the 48 lower states. Bessie’s faith got her through many nights. ”If you had black skin you couldn’t get a place to stay,” she said. “I knew the Lord would take care of me and He did. If I found black folks, I’d stay with them. If not, I’d sleep at filling stations on my motorcycle.” Bessie folded her jacket on the handlebars as a pillow and rested her feet on the rear mudguard. Using her skills and can-do attitude, she also performed trick riding in carnival stunt shows.
Between her travels, Bessie wed and divorced six times, declaring, “If you kissed, you got married.” She and her first husband were deeply saddened by the loss of three babies and Bessie had no more children. On divorcing her third husband, Arthur Stringfield, she said, “He asked me to keep his name because I’d made it famous!”
During the Second World War, Bessie worked for the army as a civilian motorcycle dispatch rider. The only woman in her unit, she completed rigorous training maneuvers. She learned how to weave a makeshift bridge from rope and tree limbs to cross swamps, although she never had to do so in the line of duty. With a military crest on the front of her own blue Harley, a “61,” she carried documents between domestic U.S. bases. Bessie encountered racial prejudice on the road. On one occasion she was followed by a man in a pickup truck who ran her off the road, knocking her off her bike. She played down her courage in coping with such incidents. “I had my ups and downs,” she shrugged.
In the 1950s, Bessie bought a house in Miami, Florida. She became a licensed practical nurse and founded the Iron Horse Motorcycle Club. Disguised as a man, Bessie won a flat track race but was denied the prize money after she took off her helmet. Her other antics, such as riding while standing in the saddle of her Harley, attracted the attention of the local press. Reporters nicknamed her the “Negro Motorcycle Queen” and later the “Motorcycle Queen of Miami.”
Late in life, Bessie suffered from symptoms caused by an enlarged heart. “Years ago the doctor wanted to stop me from riding,” she recalled. “I told him if I don’t ride, I won’t live long. And so I never did quit.” Before she died in 1993, at the age of 82, Bessie said, “They tell me my heart is three times the size it’s supposed to be.” An apt metaphor for this unconventional woman whose heart and spirited determination have touched so many lives.
I love how purple looks on Darkskin girls…..soo pretty!!!
is a design based on one of Mucha’s illustrations! I plan to complete a whole series of princess and mucha mashups. You can get this as a print on Society6 or Redbubble, and as a shirt on RB and S6 currently (will add to Teepublic soon, after a nap!) . Enjoy!
So beautiful, thank you for offering a print and shirt!
|—||Catharine MacKinnon (via youhauntyourbagofbones)|
You say not all men are monsters?
Imagine a bowl of M&Ms. 10% of them are poisoned.
Go ahead. Eat a handful.
Not all M&Ms are poison.
Outfits by:Tarun Tahiliani
|—||in-toxicatd (via in-toxicatd)|