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Talking About Photographs

February 16, 2008

Abortion, Robots, and The Labia Majora

Robot_goddess A few stories to lubricate the mind, if not the machine:

Debbie Nathan on the the ambivalence of how abortion is discussed in the New York Times:


"What is the New York Times' problem with abortion? The editorial page consistently supports sex education, birth control, and the right to legally end unwanted pregnancy.

"The rest of the Times, however, often seems uncomfortable with concrete applications of these principles. Not a season goes by that a news item or magazine feature doesn't imply that women who get abortions are acting with egotism, unhealthiness, and cruelty.

"The most recent instance of this is Annie Murphy Paul's "The First Ache," in last Sunday's Magazine. "When does the experience of pain begin?" the subtitle asks. "Anti-abortion activists aren't the only ones to argue that it may be in the womb."

More...


Debbie's essay is best followed up by a visit, (and perhaps your own entry), to the I'm Not Sorry web site, where women tell, simply and plainly, the story of their abortions— legal and illegal— all ages, all kinds. It's without frills, sunny rhetoric, or apologies.



I am a fan of Circlet Press, the kinky sci-fi and fantasy publisher, who have published Kal Cobalt's essential: 10 Things You Always Wanted to Know About Robot Sex on their blog:


“I write robot erotica” is a great conversation starter. Often, the questions people ask me are things I never considered at the keyboard. Other times, something I consider a basic tenet of robotica startles even the most shrewd of discussion partners. So here they are: the top ten things people either want to know about robotica or are most surprised to discover.

"1. Robots Need Lubricant.
When bringing one’s first piece of robotica to a prestigious workshop, the last thing you want to hear is the chairman saying, “Maybe you know more about this than I do, but if the metal robot is giving a human a handjob…wouldn’t that hurt without lube?”

More...


I don't know why I didn't think of this pairing before, but it's a perfect match: Heidegger Meets Vulva Portraiture:

"The German philosopher Martin Heidegger tells us that when an object or desire passes from concealment to revelation, truth appears..."

These are beautiful and vivid photographs, that remind me a lot of Joani Blank's book, but  Femalia, but with a totally different style of photography. I wish I could go to Norway and see the originals!


I'm on a 10-book tour, with Best American Erotica authors meeting me in a few different cities. It's quite, uh, challenging, to figure out how to blog regularly. I've had a few "where's the wi-fi?" meltdowns already, and it's only Day 3! Or sometimes I have the connection, but I'm so  bleary I have nothing to say. Do you know any great bloggers who write regularly on the road? Send me their links for inspiration!

Photo Credit: Robot Goddess movie still, by Michael Sullivan.

August 22, 2007

Simone de Beauvoir Gets Dressed

Art_shay_simone_de_beauvoir_in_chic I went to Chicago this summer to a feminist blogging convention— but the most aesthetically memorable part of my trip was when Marie Kuda took me for a visit to the Art Shay photo exhibit at the Chicago Historical Museum.

The exhibition, which I wish I could show you in every detail, features this candid photo of Simone de Beauvoir getting dressed in the bathroom for a day's outing. I swooned.

The philosopher, at the time, was lovers with Shay's best friend, Nelson Algren— the author who wrote The Man with the Golden Arm.

Most of Shay's prints in the show are not published in a book or catalog, which I tearfully found out when I pounced on the museum bookstore.

The originals are so beautiful— such an incredible look at working class Chicago, the adult side of LIFE magazine Americana, and bohemian culture before the word "beatnik" was even popularized.

Shay (who's very much alive!) is an adventurer, someone whose heart is always on his lens' sleeve.

If anyone wants to know what I want for Labor Day, it's one of Shay's prints! You can see a lot more at the gallery site which represents him...


Art Shay, Simone de Beauvoir in Chicago, 1952 | Gelatin silver print | 8.5 x 5.75 in.

August 10, 2007

Hello Piglet

Thailand's police forces are disciplining errant officers by parading them in public with a Hello Kitty armband strapped to their uniforms— to "make them feel guilt and shame, and prevent them from repeating the offense, no matter how minor”.

But I don't think that goes far enough.

I think public servants who screw up should have to wear this:


996213387_6532704f6f_o



Photo and tip from the always-enigmatic Phyllis Christopher.

July 16, 2007

A View of One's Own

Tereses_kitchen_copyBearing witness, by windowsill:

L'Appareil

Click on a dot and see where you go!

My friend Linda says that the one in Dubrovik, is a  favorite of hers, as well as the one in Bakkagerdi, Iceland.

I think I clicked on every one.


Photo: JBailiff, "Terese's Kitchen," Venice, CA

March 17, 2007

The Wearing of the Green

www.flickr.com
This is a Flickr badge showing photos in a set called St. Paddy's Day Memories. Make your own badge here.


The Weavers

We're all met together here to sit and to crack
Wi' our glasses in our hands and our work upon our back
There's nae a trade among 'em that can mend or can mak
If it wasn't for the work of the weavers

If it was not for the weavers, what would you do?
You wouldn'a hae the clothes that's made of wool
You wouldn'a hae a coat of the black or the blue
If it was not for the work of the weavers

There's soldiers and there's sailors and glaziers and all
There's doctors and there's ministers and them that live by law
And our friends in South America, though them we never saw
But we can they wear the work of the weavers

If it was not for the weavers, what would you do?
You wouldn'a hae the clothes that's made of wool
You wouldn'a hae a coat of the black or the blue
If it was not for the work of the weavers

Though weavin' is a trade that never can fail
As long as we need clothes for to keep another hale
So let us all be merry o'er a bicker of good ale
And we'll drink to the health of the weavers

If it was not for the weavers, what would you do?
You wouldn'a hae the clothes that's made of wool
You wouldn'a hae a coat of the black or the blue
If it wasn't for the work of the weavers


May 17, 2006

Prom Night, Gun Fight

Img_1151_1 It's prom time. It's beautiful girl time. It's also military service time for  young women in Israel.

I've been soaking in all of it. On the high side, I made a prom dress for my friend Gabby, who's  turning 18 and graduating from high school this month.

This is my third "Cinderella" dress. I made one in Schiaparelli pink for my daughter's Quinceneara, and I made one for myself— just because— in Cowboy Sleeping Bag flannel with minkish trim.

For you fashionistas, Gabby's dress is a riff off a McCalls pattern. Gabby had the idea of lime green satin overlaid with black lace, and my teacher Jill Sanders led the way, showing me how to make a corset lace-up in the back. It's  simpler than a zipper for this sort of thing, and you can really make it FIT. 

Ah, but in the meantime, one of my readers sent me the most amazing link: a photographer's portfolio of teenage girls in the Israeli army. It's called:  Serial No. 3817131, which is the number the artist, Rachel Papo, was known by during her miliary career. It's also the number of her gun.

From Papo's artist statement:

05_1 The life of an eighteen-year-old girl in Israel is interrupted when she is plucked out of her environment at an age when sexual, educational, and family values are at their highest exploration point.

She is then placed in a rigorous institution, where individuality becomes a secondary matter, making room for nationalism. “I solemnly swear…to devote all of my strength and to sacrifice my life to protect the land and the liberty of Israel,” repeats the newly recruited soldier during her swearing-in ceremony.

She enters the two-year period in which she will change from a girl to a woman, a teenager to an adult, all under a militaristic, masculine environment, and in the confines of an army that is engaged in daily war and conflict.

I decided to portray female soldiers in Israel during their mandatory military service as a way for me to revisit my own experience.

I served as a photographer in the Israeli Air Force between 1988-1990. It was a period marked by continuous depression and extreme loneliness, and at the time I was too young to understand these emotions. Through a series of images showing female soldiers in army bases and outside, individually or in groups, I attempt to reveal a facet of this experience that is generally overlooked by the global community...

Img_1677 And speaking of prom dresses and the War At Home, did you see the story about the delivery of prom dresses, by the hundreds, collected for glamourous young misses in New Orleans? I would have liked to be part of that drive! Sometimes glamour is the only answer to utter devastation.

February 05, 2006

My Valentine Scrapbook

Camerakit Hi, sweetheart. I have a special Valentine's present for you.

When my mom died last year, I went through all her old boxes and found a scrapbook of Valentines from the 1920's and 30s. They are so beautiful, unlike anything you'd find at the store today. And they were in perfect condition, as if they were produced yesterday.  (I guess they don't make paper like they used to, either).

I can't believe these have been locked up in a box for decades with no one enjoying them. I thought of all my family and frends I wanted to send one too... and then I got my swell idea. I spent all day yesterday cooking over a hot scanner!

I've made a photo album, callled Betty Jo's Valentines. You can look at them, and print them out willy-nilly, and make your own Valentine collection extraordinaire!

Last night I printed out a bunch and took them to a Valentine-making party where we all went wild. A little glittter never hurt a girl. I finally fell asleep covered in Elmer's glue and pudding.

A little bit about the Valentines:

My mom, whose childhood name was Betty Jo, grew up in Fargo, North Dakota, and later the Irish ghetto of St. Paul./Minneapolis.

She was one of five siblings, and most of these Valentines were addressed to her, the eldest daughter, or her older brother, Buddie. She had several cousins, including Owen, Mary Margaret, and Jimmy Gastonguay. Many of the Valentines are from Dada (My grandfather Jack Halloran), Aunt Tessie, (his sister) or his mother, "Grandma."

My maternal grandparents, Grandma and Grandpa Williams, also seemed to have signed a few.  Of course, there's a few from crushes at school, which are fun to consider. My mom got collected these from 1929, when she was 4, to 1938, when she was 13, and her mother died of pneumonia.

The children were left in a destitute situation, and about to be broken up through an orphanage. But then Aunt Tessie came raring back from California— where she'd emigrated to work as a governess— and raised the five kids all together until adulthood.

As they grew up, they all returned to San Francisco, to Hunter's Point and the Mission district, which were a magnet for new arrivals during the shipyard boom of WWII. Irish and Italian families dominated the "Mish," and there was even a dialect associated with the neighborhood, the same way folks in the French Quarter of New Orleans speak differently than everyone else.

When did commercial valentines— the kind they make for children to hand out at school— become cheap and forgettable? I don't even remember. These ones are so precious. I can't decide my favorite, although the fox in psychedelic pants with ice skates is pretty memorable. And I like the mixed metaphor of the "Eskimos" with Valentine Greetings.

Hey, I love you!  Don't forget, now.


December 12, 2005

Georgy Porgy, Pudding and Pie

Susiebush_1 Yes, that's me, photographed by Jill Posener on Duboce St. in San Francisco, during Bush Sr.'s reign. It was morning rush hour.

Jill, my dear friend and co-editor of Nothing But The Girl, has revamped her web site. Jill, who came here from England, was one of the pioneers of radical graffiti photography. She became the staff erotic photographer for On Our Backs in our prime, and is now one of the most eloquent artists and activists documenting  the Berkeley controversy about the Albany Landfill.

I know you might be more tempted to click on the "erotic" link rather than the "Albany landfill," but one is no less riveting than the other!

December 05, 2005

It's My Body and I'll Transform If Want To

Human Upgrades Technology. What an amazing company. And I was thinking of making a few changes...

CuntongueThe CuntTongue




PalmclitThe PalmClit








Multinipple3The MultiNipple








More here. Click on "Products," then on "Lust." Then Look All Around.  Can anyone guess what language the originating artist might speak? The site is graphically flawless, but the English translation is wacky.

December 02, 2004

Why Pictures of Myself Get Me In Trouble

Several of you have written  that you’d like to see me post more photos of myself on on my blog. You have no idea— or maybe you do!—  what a controversial proposition that is for me.

Img_5779_2Part of me wants to  throw a couple photos up to relieve anyone’s curiosity, and be done with it.  Another side of me is all too familiar with the pressure and humiliation that comes with being even marginally known as a “sex symbol.” Any sane person comes to the point where they want to wash their hands of it. [self-portrait,2004]

Srcover I was once an "accidental model"— the years in the 80s that I ran On Our Backs magazine,  and I was surrounded by topnotch photographers, professional lighting, and a pressing deadlines with no one else to strike the pose. Sometimes I think the same five people are in every issue from the old days. We just recycled ourselves in various wigs and pseudonyms.
[photo by Phyllis Christopher]

Susie_in_riverside_copyBefore I edited On Our Backs, my main experience with picture-taking was childhood posing for church holidays. For the first twelve years of my life there aren’t that many photos of me that didn’t take place on a Sunday. They are all as stiff as the crinolines under my skirt.
[school photo, Riverside, 1966]

RedtideIn high school, I took a b/w photography course, and that’s the first time I ever saw a candid photograph of myself. All the students took turns shooting each other. It was a revelation... I’d never seen myself as I look when I believe I’m unobserved. I loved those pictures!  Here’s one of them, on the left, taken by Joel Levine, when our high school underground newspaper, the Red Tide, was protesting censorship at the Board of Education downtown. I’m 16, and it’s 1974.

At the time, and for many years afterward, I never wore makeup; I dressed in jeans and  revolutionary slogan tshirts. I wanted to be desirable to my friends, and the people I was likely to go to bed with, but this did not involve the slightest bit of glamor or special preparations.

I didn’t wear revealing outfits, I didn’t wear bras— any of that would have been seen as pathetic by my peer group. I thought I looked good in my tshirts and peace sign necklaces, with my hair brushed straight and long. I was embarrassed that I was so tall. I took it for granted that I was slender— I didn’t think one thing about it.

Now I think of all those years as a blessing of oblivion.

SbindellasbraI came upon the reinvention of glamor, the subversive glamoristas, when I got involved with resolutely communist drag queens in San Francisco in the 1980s. I would say the Cockettes were my role model. I  loved theater, and costume, and dressing up like a girly-diva with tongue firmly in cheek. I finally lost my naiveté about the power of suggestion through clothes and deliberate erotic presentation.  It was great fun— and quite overwhelming to see the sexual power one could have by “flaunting it.” It  seemed laughable to me that I could put on high leather boots and have people think I was a dangerous dominatrix. [photo by Della Grace]

I don't think I ever had a bad time with those sort of dressing up. But I didn’t have to do it for a living. I thought of myself as a writer who just happened to get in front of the camera occasionally.

OnourbacksBut I saw how my friends who worked full-time as models, strippers, escorts— and others in the “pretty business”— were  burnt out by the pressure. They wanted nothing more than to take off the wig, the makeup, get in jammies, and have faith that someone would want them au naturel. (See my satire photo on the subject by Phyllis Christopher on the left)  I’d already had years of love and sex while ostensibly being “plain in jammies”. That was the wonderful psychic protection I had, to know that looking like yourself was not so bad at all.

When I started publishing books, I was often asked for my photo to put on the cover. It didn’t occur to me that the publishers wanted a sexy young image to sell books. I’m not kidding! I just thought they were interested  because I was the author. It wasn’t until they STOPPED asking me for my photo, that I realized they were worried that my image would be a sales STOPPER. 

What happened? Nothing special. I got older, that’s the main thing. My face wasn't as smooth, I gained a few pounds, I didn't look like the dew off the rose. There’s a reason why supermodels start at 13 and 14... it’s all downhill from there! I’m neither fat nor thin, I’m just in the middle. My hair is salt and pepper. I could look any way you want depending on what make-up pencil and hair dye you choose. My photographic portaits are all  all pure theater, there is no “real” there. I’m not photogenic, (i.e. perfect shots from any angle) and I always relied on clever artists to make my celluloid version look alluring. I never got around to using  makeup or  wearing bras as a daily habit; it was all in the costume shop.

Img_7810_3My photos today,are taken by my family, and I’m sure I just look like someone’s 40+ mom, which I am! If I dolled myself up and put up the mood lighting,  I could be a Great Seductress again, but it’s at the bottom of my to-do list. [Birthday,2004]

Why so? —Because it’s hard to keep up with people’s hopes and dreams of a fantasy girl. I don’t want my latest photo shoot to be the index of how sexy or wonderful I am at any given minute, when in fact my “camera face” has zero to do with my sexual satisfaction.

Plus, I don’t want to be endlessly discussed by visitors like this, who recently posted to my blog:

Subject: Your Photos Before You Became the FAT CHICK
You're fat Susie.  Show the REAL you today.
Unsigned

Yow!

You know, I am so earnest that I actually wondered if this post was from fat liberationist who was mad that I wasn’t celebrating extra pounds. If I was a bonafide Fat Chick, I’d be proud of it.

So I decided to look up the poster’s email address. Big surprise: It was Not_A_Fattie@--.com. I guess he isn't fighting fat oppression after all.  So I deleted him, since it was nothing more than a nasty dig.

But it raised the issue for me:  Why does someone act like that? What on earth has this guy been doing, following my career, and then trying to have some kind of negative relationship by jeering at me? Was he once attracted to me and then vilely disappointed? Is he attracted to fat women and repulsed by his own feelings? Since I’m average, from a mature woman's perspective, what does he think a normal figure looks like?

There’s a certain value in being photographed “as is,” just to reveal the veil of mystery and prejudice about what the human body looks like. I let a TV crew film me at a nudist club a couple years ago, and I knew I probably looked completely  dull.

NudeBut I wanted to make the point that when you go to relax in the nude, it’s not about putting on a show, it’s about relaxing and letting go of the status that clothes infer. I want people to know that “this is what 40 looks like”-- it’s not Catherine Deneuve after five hours at the beauty parlor, as lovely as she is. It’s  a huge relief when you realize how normal aging is, and what it really looks like. From the naturist sense, you are more beautiful when you are without artifice. [photo: Bailiff/Bright]

There’s a big secret and irony about appearance and sexual satisfaction: they peak at opposite ends of the age spectrum.  I really did look like a stoned fox when I was 18, but my sex life was kind of frustrating!  I didn’t have orgasms half the time I was with a partner, and I was SO embarrassed about EVERYTHING I felt about sex.  Now, I’m not nearly as cute, but I enjoy sex so much more. I’m a much better lover, naturally.

And this is how it works for everyone. You don’t figure it all out when you’re crawling out of your egg, as pretty as you are.

Because the image of older women (“older” meaning: over 25) is so unusual in our culture, if you promote a middle-aged portrait of yourself in the buff, and you don’t use techniques to disguise your aging, that portrait becomes the focus of everything-- you better not have another point you want to make because no one will pay attention to it.

Or, you get to endure mean people like Mr. Not_A_Fattie who want to reduce you to ash. Who needs that kind of attention?

Since I do have a lot of different interests than being a role model for naked plump hippie moms— (and you know who you are!), I’d rather take a easygoing, no-pressure attitude about publishing my picture. If there’s some funny picture of myself that I impulsively put on the site, I’ll do it. but I don't want to work at it; I don’t want to create any kind of suspense or expectation.

If I could have a wonderful photographer take pictures with me today, and do anything I wanted, I would like to do something that involved nudity, actually.  As usual, I’d want an original take on it— I not sure what. If you took Man Ray and Brassai and Ruth Bernhardt and mixed them up with a bunch of Nothing But the Girl photographers, that’s my idea of my perfect forty six year old portrait. It’s not going to look like a Nerve personal ad!

SusieonboundsetHey speaking of which, I was once hired to do an essay about Nerve personals that never got published. I was required to place an ad. I decided to put the sexiest picture up that I had handy-- a still from my turn as the Bar Girl in Bound. I’m in a leather corset with lipstick, no glasses, and my hair is all done up. I wanted to attract the bees to the honey fast.

The only responses I got were from men who wanted me to come over and suck their dick in the next couple hours, and a couple of fun lesbian bi girls in Sacramento, who recognized me.  Interestingly, few of the men allowed me to see THEIR photo, which I figured would be essential if all we were interested in was superficialities.  My idea of hot sex is not going over to some faceless mans apartment to get him off without reciprocation. I’m sure it’s fun once, but I already tried it twenty years ago, and the thrill of the adventure is over!  Plus, I realized that I didn’t have a hairdresser on hand and there was no way I was going to pour myself into that corset just to meet someone for coffee, or a blow job.

Photos!!! You see, they just get me into trouble. 

One last question:  That note from NoFatties-- I knew, intuitively, that it was written by a man. However, women are certainly capable of criticizing a woman’s figure, or being cruel about another woman’s appearance. So why did this letter sound like a guy?  My partner Jon and I have been talking about this, and I’d be interested in what you think, too.

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