Friday, May 5, 2023
"We Pee TOGETHER"
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Recently, an anonymous user posed the question, "What girl code do you stick by?" to the AskWomen community on Reddit. Women were quick to sound off about what rules are a MUST to follow to better support one another!
Things Women Do Unapologetically that Society Still Shames Men For
Gross Things Many Women Do That Men Stereotypically Do
Run for the Hills
Things Women Do to Men But Don't Realize It Is a Sexual Harrasment
Things Women Secretly Can't Stand About Being a Woman
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Thursday, May 4, 2023
Evolution of Miniskirts Through the Years
The miniskirt is considered a staple of many women’s wardrobes nowadays, but that wasn’t always the case. It wasn’t until the 1950s when Dame Mary Quant began popularizing short skirts that were eventually dubbed “mini,” that the miniskirt found a customer among the modern woman.
The miniskirt itself is a tale as old as time though. Archaeologists have uncovered figurines dating back as far as 5400 B.C. of people dressed in kilt-like coverings. Before Mary Quant popularized the miniskirt, groundbreaking entertainer Josephine Baker shocked a crowd in Paris when she wore a miniskirt made from bananas.
The miniskirt has undergone many iterations and changes since life pre-‘60s. In 1964, André Courreges began hiking up the hemlines on his skirts for his runway shows. By the ‘70s, miniskirts got a lot bolder and more colorful. Today, celebrities proudly rock miniskirts on the red carpet and for everyday appearances.
Read the full article here.
Are Americans Cultured?
Are Americans Cultured? 15 Surprising Things Foreigners Cannot Understand About America
Five Places to Search for Gold in the US
You might never find the equivalent of the Comstock Lode, but there are places where you can give it a try, and not only enjoy prospecting as a hobby but take in awesome scenery and commune with nature. You might even pick up some nuggets, too! Read about five of those places at Smithsonian.
‘Unmanly' Things Men Do That They're Not Ashamed Of
Bad Parenting 101
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Bad Parenting 101: 15 Places parents Should Definitely never Take their Kids, but do anyway
Things People Tend To Brag About That is a Red Flag to Other People
Beyond Time And Space: Facts That Will Make You Wonder What You Really Know
For that reason, it's not hard to develop a series of assumptions that govern the popular understanding of how time has moved and how far apart certain events and people throughout history are. But today, prepare to have those assumptions shattered.
Beyond Time And Space: Facts That Will Make You Wonder What You Really Know
Things You Think Are The BEST But Are a REAL DANGER To Society (Wake Up Already!)
Popular Lies In History That People Still Believe Today
Dumbest Myths Society Still Spreads Like They're Gospel
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Exploring the Depths of Human Depravity
What’s A Vampire Straw?
A vampire straw was found in a traveler’s bag when it passed through security at Boston’s Logan Airport. The unusual item was made of titanium, and while they function as straws, their structure allows them to also be used like a dagger. Some sellers also advertise these items as very effective tire deflators.
The state police and troopers confiscated the item from the 26-year-old man. He was also charged by the state as vampire straws are banned travel items.
Absinthe's Overblown Hallucinogenic Reputation
But what is absinthe, anyway? It is green because it was steeped in a mixtures of natural herbs, which included the classic toxin wormwood. Wormwood was reportedly what caused hallucinations. Its flavor came from anise, which made the liquor taste like licorice. And its kick came from between 45% and 90% alcohol (that's 90-180 proof). The one ingredient that was missing was sugar, which led to the performative serving of absinthe with a sugar cube. Learn what absinthe was all about, and why it gained a reputation as the downfall of humanity at Today I Found Out.
They kept their heads in the Reign of Terror, then embraced hedonism
They were in mourning, having survived the Reign of Terror. Many of their loved ones had lost their heads, literally — and grotesquely. Yet they responded with eros: with celebrations, parties, a cult of perfectly logical perversity. One ball restricted its guest list to the adult offspring of the guillotined. Mocking the executioners’ zeal for decapitations, these beautiful young survivors greeted each other by violently shaking their heads.
The women among them cast off corsets and donned tunics so sheer at times that they were described as “woven air.” Sometimes their dresses were worn slightly damp, mimicking the “wet drapery” look of ancient Greek and Roman sculpture.
The women were known as the merveilleuses, or “marvelous ones.” This painting in the National Gallery of Art, “Portrait of a Young Woman in White,” depicts one of them. It’s by an unknown French painter thought to have been in the circle of Jacques-Louis David. With their dandyish male counterparts, known as the incroyables (or “incredibles”), the merveilleuses were part of an aristocratic subculture in France at the end of the 18th century.
Their reaction to having survived the Reign of Terror was to embrace decadence, silliness and brazen eroticism. They attended balls, dressed in outrageous fashions and thumbed their noses at the psychotic murderers who had carried out the Terror. Their basic attitude was that Robespierre, who orchestrated the demented campaign that ended with his death by guillotine in 1794, could burn in hell.
But why, for all the formality and clarity of her rendering, does this young woman seem swaddled in a fog of ennui? Why does she almost burn with contempt?
The historical backdrop may get us some of the way, but there is something ineffable and supremely unreachable about this woman — a deeper psychological inaccessibility that magnetizes feeling, kindling dark laughter, stirring insurrectionary thoughts.
To modern eyes, French neoclassicism can seem stifling in its formality. But this painting may be a portal to other ways of looking at neoclassicism from the revolutionary era. What if that formality had an ironic edge? What if its stiffness, emanating sobriety and social status, were, in the hands of young people, a kind of burlesque, an inversion?
These privileged youths were responding, after all, to a society-wide trauma, an almost unimaginable upheaval, that had specifically targeted their kind. Jammed into an impossible predicament, they developed their own colloquialisms, fashions, hairstyles and macabre greetings.
I can imagine one of them looking at this portrait, soaking in its sexy registration of death, its complicated contempt, and hurrying on to the ball to seek out its damned elusive subject, here, there, everywhere.
The women among them cast off corsets and donned tunics so sheer at times that they were described as “woven air.” Sometimes their dresses were worn slightly damp, mimicking the “wet drapery” look of ancient Greek and Roman sculpture.
The women were known as the merveilleuses, or “marvelous ones.” This painting in the National Gallery of Art, “Portrait of a Young Woman in White,” depicts one of them. It’s by an unknown French painter thought to have been in the circle of Jacques-Louis David. With their dandyish male counterparts, known as the incroyables (or “incredibles”), the merveilleuses were part of an aristocratic subculture in France at the end of the 18th century.
Their reaction to having survived the Reign of Terror was to embrace decadence, silliness and brazen eroticism. They attended balls, dressed in outrageous fashions and thumbed their noses at the psychotic murderers who had carried out the Terror. Their basic attitude was that Robespierre, who orchestrated the demented campaign that ended with his death by guillotine in 1794, could burn in hell.
But why, for all the formality and clarity of her rendering, does this young woman seem swaddled in a fog of ennui? Why does she almost burn with contempt?
The historical backdrop may get us some of the way, but there is something ineffable and supremely unreachable about this woman — a deeper psychological inaccessibility that magnetizes feeling, kindling dark laughter, stirring insurrectionary thoughts.
To modern eyes, French neoclassicism can seem stifling in its formality. But this painting may be a portal to other ways of looking at neoclassicism from the revolutionary era. What if that formality had an ironic edge? What if its stiffness, emanating sobriety and social status, were, in the hands of young people, a kind of burlesque, an inversion?
These privileged youths were responding, after all, to a society-wide trauma, an almost unimaginable upheaval, that had specifically targeted their kind. Jammed into an impossible predicament, they developed their own colloquialisms, fashions, hairstyles and macabre greetings.
I can imagine one of them looking at this portrait, soaking in its sexy registration of death, its complicated contempt, and hurrying on to the ball to seek out its damned elusive subject, here, there, everywhere.
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