Wednesday, March 30, 2016

Stuff you missed in History: Olive Oatman

Stuff you missed in History podcast here.

Her Mojave nickname was "Spantsa" which meant "rotten/sore vagina." It was, apparently, a term of endearment that she was okay with--the tribe is know for a dirty sense of humor.

Although there's no way to know for sure, all accounts of her story state that there was no sexual contact--but I'm not sure it would have been discussed or recounted if it had happened. From what I've read it was a reference to differences in hygiene habits between her and the Mojave women. They were pretty sexually liberal as a people, though.

Regarding the hygiene theory, that was because the Mojave bathed daily and were very focused on hygeine--at that time, White settlers did not.
In the book "Violent Encounters: Interviews on Western Massacres" there is also a theory that the term actually translates to "rotten womb" and referred to her being infertile. I have no idea if this is accurate either (it seems odd given that the nickname was apparently kind of an in-joke for her tribe). However, she never had her own kids and later adopted, so it's possible she was infertile. -

In the 1880s, the “tattooed captive” became a popular circus theme. “Their stories turned, provocatively, on the notion that people of color could transform whites into people of color,” Margot Mifflin writes in The Blue Tattoo: The Life of Olive Oatman

Monday, March 28, 2016

Bye Bye Blues

Via Bill Domonkos

Yavapai Woman

Oatman Massacre

Song in Blue

Ophelia like...

 Sir John Everett Millais, completed between 1851 and 1852
The Hours.

Pina Bausch. Blaubart (performance) 1977.

Friday, March 25, 2016

Saturday, March 19, 2016

Uncanny Bodies

In 1931 Universal Pictures released Dracula and Frankenstein, two films that inaugurated the horror genre in Hollywood cinema. These films appeared directly on the heels of Hollywood's transition to sound film. Uncanny Bodies argues that the coming of sound inspired more in these massively influential horror movies than screams, creaking doors, and howling wolves. A close examination of the historical reception of films of the transition period reveals that sound films could seem to their earliest viewers unreal and ghostly. By comparing this audience impression to the first sound horror films, Robert Spadoni makes a case for understanding film viewing as a force that can powerfully shape both the minutest aspects of individual films and the broadest sweep of film production trends, and for seeing aftereffects of the temporary weirdness of sound film deeply etched in the basic character of one of our most enduring film genres.

Monday, March 14, 2016

Saturday, March 12, 2016

Walking The Beat In Mr. Rogers' Neighborhood, Where A New Day Began Together

Officer Clemmons and Mister Rogers, reprising their 1969 foot bath more than two decades later, during their final scene together in 1993.

Homesick for Sadness

Friday, March 11, 2016

Yael Bartana

Monday, March 7, 2016

'Imbeciles' Explores Legacy Of Eugenics In America

In 1927, the U.S. Supreme Court decided, by a vote of 8 to 1, to uphold a state's right to forcibly sterilize a person considered unfit to procreate. The case, known as Buck v. Bell, centered on a young woman named Carrie Buck, whom the state of Virginia had deemed to be "feebleminded." Author Adam Cohen tells Fresh Air's Terry Gross that Buck v. Bell was considered a victory for America's eugenics movement, an early 20th century school of thought that emphasized biological determinism and actively sought to "breed out" traits that were considered undesirable.

Tuesday, March 1, 2016

Davis Rhodes and Cat's Eye

"There are other colors, pink for instance: pink is supposed to weaken your enemies, make them go soft on you, which must be why it's used for baby girls."
- Margaret Atwood, Cat's Eye p. 47

Julie Schenkelberg

 "The Color of Temperance: Embodied Energy"- The Matress Factory