#I know ballerinas aren’t all women obviously that’s where the term comes from

[boneless-mika]

Hate the phrase “tumblrinas” because of my Swedish nature I read it as inherently calling tumblr users women and there is nothing that upsets me more than when someone calls me “girl” and then pretends it isn’t gendered so I can’t be upset

[bottomharrykingdom]

Hiya. I’m a little confused. Is it okay for me to see Harry As just a guy playing with gender norms. Obviously if is closeted trans I 100% support him and if he comes out I still 100% support him. I just know a few of my gay and lesbian friends get really pissed off if they’re misgendered because of who they like or what they wear or how they act etc. I don’t mean to offend anyone I’d just like to learn about these things more x

Hi! Of course the whole world doesn't have to agree with us, but hopefully a transphobic line of thinking isn't behind it! For example, saying Harry having body hair, muscles, and a penis makes him a masculine cis man is extremely hurtful to trans women assigned male at birth. Saying that masculinity cancels the possibility of him having a connection with womanhood promotes stigma against masculine women, especially trans women whose identities are invalidated if they aren't meeting a hyperfeminine standard. And mocking his queer expression as being "basic" in comparison to other queer people who are "doing it better" is extremely hurtful to trans people who are "doing it" just like Harry.

Transhood(as an umbrella term for noncis) is about what's inside! You can compare Harry to straight cis boys who wear dresses to prove feminine boys exist, but it's completely irrelevant to all the actual reasons people think Harry is trans.

A lot of people misinterpret our belief in Harry being trans and say it stems from his clothes and behavior, but the truth is what really sparked the conversation was Fine Line!

Harry's known to be very meticulous and deliberate about the visuals in his projects, be it religious, about his family, film references, or sexuality. And while fans have been able to find these connections, Harry has never publicly spoken about any of them. That hardly means he didn't do it on purpose, and it certainly doesn't mean he doesn't want people to notice!

So when a lot of people saw that the album cover was three horizontal lines in the exact colors and shades of the trans flag, they began looking at the album through that lense. Of transhood, for some through their own.

Harry saying the album was about things he'd been wrestling with for years, a struggle he expresses in the titular song Fine Line,

how he described the lines of gender becoming ambiguous,

how the album is called Fine Line,

how the words "fine line" reference the song where he sings, "we'll be a fine line, we'll be alright", the same song where he expressed a struggle with separate entity, now together, sharing this experience of togetherness in ambiguity,

showing that it's all a reference to a state of being where there are no lines,

seeing his identity as separate, struggling with it and in need of a way to be together,

when there's a song called She where he sings about a woman who lives inside him who's the first one he sees, but only in daydreams, living a life he wants to abandon to be with her, because currently they can't be together, and live separately.

And as if that didn't show how the themes in Fine Line connect and reflect transhood, gender nonconformity takes a front seat in this album era! He could've picked any other time, but Harry chose this album about making peace with himself and finding joy in that acceptance, to be paired with gender nononconformity. Photoshoots where he publicly wears makeup, fishnets, dresses, and ballerina tutus, and his poses are more fluid and flamboyant. And often he's doing these things for the first time! As if to say he's settled something, and can now experience things he'd been holding back from.

And it was only after all of that that people began to look back at Harry's self expression through the years, finding once again that it all shows a reflection of the trans experience. Not the other way around! It definitely didn't start with the first time he wore a dress in 2017, but rather, it was all pieced together in hindsight. After Fine Line.

So hopefully that gives you a better idea of why people believe Harry's trans! It's a very complex thing to summarize. You're welcome to disagree with it, of course! It's just that when incorrect information is spread about Harry and gender, it's hard to find it believable.

Think of it as a beautiful plant! As the theme featured in the album goes, Harry is a sprouting plant being born again.

And the nail polish and dresses make up the many beautiful petals of flowers from that same plant. Even without them that plant is still alive. And it came as a shock to many people, but it had flowers after all! It just needed a little time to bloom 💖

[365days365movies]

February 18, 2021: The Danish Girl (2015) (Part 1)

The list of movies I’ve seen is a little...limited.

And I mean in general, not just this month. Now, don’t get me wrong: I’ve seen a FUCKTON of movies, to say it lightly. But in terms of the diversity of films I’ve seen...it could use some updating, I’m not gonna lie. So, because of that, I haven’t seen too many LGBT focused films, which is one of the reasons I wanted to add them this month. 

So I REALLY haven’t seen films that prominently feature transgender people, and Ace Ventura pretty obviously shouldn’t count for various reasons. But I have seen one major one, which I think has been recently somewhat forgotten. Which is a shame, because I actually really liked it!

Tangerine, directed by Sean Baker, is a comedy drama film about two transgender women who are sex workers on the Hollywood strip, and it’s a look at a few days in their lives. It’s all shot on an iPhone camera (yes, really), and yeah, I really did like this movie! Saw it in theaters in early 2015, when it came out, and around the time I was starting to diversify my tastes, movie-wise.

Look, all of this is me saying that this project of mine is an attempt to watch more films, and to expose myself to new and different perspectives. So, even though this is the only transgender-related film on my list (yeah, sorry about that), there will be more in the future, I promise. If you have any good ones that fit into other genres, and that I should’ve seen by now, let me know! I’m definitely interested. Anyway, with that said: The Danish Girl.

Directed by Tom Hooper, who...wait. Tom Hooper? Like, this guy?

Neat! That movie wasn’t bad, as musical adaptations go. Had its issues, but for Hooper’s biggest and most recent musical, that’s a good staAAAAAAAAH

OH FUCK I FORGOT ABOUT CATS

...Ahem. Well, other than that movie that I saw in theaters NOT A JOKE I SWEAR TO GOD, Hooper’s 2015 biographical film about real-life transgender person Lili Elbe made quite the critical smash when it came out, and was considered (and won) several awards, including some Oscars. So, I’m looking forward to seeing this one! As long as there’s no James Corden and Rebel Wilson in it...or the mice...

...

...SPOILERS AHEAD!!!

Recap

Einar Wegener (Eddie Redmayne) is a newly successful landscape artist in Copenhagen, in 1926. His wife, Gerda Wegener (Alicia Wegener), is a portrait painter, although obviously a bit stifled by gender politics of the time. The two are pretty obviously very much in love.

Einar goes to visit Ulla Paulson (Amber Heard, and we’re not gonna get into THAT massive-ass controversy, NO SIIIIIIIIR), a ballerina and a prospective godmother to any future children. 

At a portrait painting with a seemingly VERY uncomfortable gentleman, Gerda does some musing on the female gaze vs. the male gaze, and dude is FRAZZLED. Also some talk about submission going on there, so THAT’S interesting. These portraits are viewed by a gallery owner, Rasmussen (Adrian Schiller), who believes that portraits aren’t her forte, and she needs to find another subject matter.

That makes her understandably upset, and she takes it out on Einar when she comes home. This is made far worse by the fact that the two are trying to get pregnant, but that doesn’t seem to be working either. Despite this, she asks for Einar’s help with a portrait of Ulla, and needs him to put on her stockings, shoes, and dress in order to pose for the painting. And that’s when the first realization hits.

As he starts to realize something (which he obviously can’t quite place), Ulla arrives and hands him a bouquet of flowers, joking that they’ll call her “Lily.” He brushes this aside...mostly, I assume. That night, Einar comments on Ulla’s new night garments, and the two embrace lovingly. Still, though, you can tell that Einar’s percolating.

At a party that Ulla’s throwing, there’s a mostly ironic discussion about Gerda dressing provocatively by showing off her ankles. And yeah, it’s meant to be a joke, but the fact that they’re making a joke in this movie that I would 100% make in real life is so delightfully meta to me, and I love it.

That night, after some more sexy, sexy ankle talk, and THAT leads to the revelation that Einar is wearing the new undergarments of Gerda’s. And, to my EVERLASTING surprise and delight, Gerda’s TOTALLY COOL with this, and the two make love. Afterwards, Gerda draws Einar in a more feminine state, which Einar quite likes.

Two two speak about another upcoming party, Ulla’s Artist’s Ball, to which Einar doesn’t want to attend, as...they...feel like they’re forced to perform as themselves. Gerda half-jokes about going as someone else, and while that’s not really an option they’re considering, the two do begin to craft a separate female identity for Einar, with makeup and clothes, as well as lessons on more feminine behaviors.

Einar, as Lili, accompanies Gerda to the Artist’s Ball. It’s very awkward at first, but that changes with the introduction of Henrik Sandahl (Ben Whishaw), who’s immediately attracted to...well, “Lili.” I’ll explain the quotes in a minute, I PROMISE. “Lili” first rejects his advances, but then...HOLY SHIT, they kiss. And Gerda sees this, and it understandably goddamn upset.

The next day, the fallout comes, and Gerda and Einar have a discussion about the kiss, and Gerda says that Lili shouldn’t “visit” anymore. However, Einar’s not as certain of that even being a possibility.

That seems to be further confirmed by the obvious strain Einar is feeling afterwards, and in a frantic rush, he heads to a studio that they use and looks at himself in the mirror. And as Einar examines himself in the mirror...I think this is the right time to explain the quotes from earlier.

See, here’s the thing: up until this point, both Gerda and Einar thought of this as a lark and a curiosity, respectively. But now, in the mirror, Einar’s realized that it’s something far more than that, as has Gerda. And it’s at this point that it’s time to switch names and pronouns, at least to they/them. Because up until now, I don’t believe that they truly understood themselves.

And now they’re starting to. Hasn’t outright said it, yet, but the mirror scene seems to cement it for me. In the meantime, Gerda also seems to realize it, subconsciously at least, as she completes one of the portraits that she drew of Lili. She brings this to the art dealer from earlier, and he surprisingly takes it!

But Lili’s doing something...less than totally OK, as she goes to meet Henrik, who continues to show attraction towards her. A self-confessed romantic, he happily lets her into his place, but I’m not certain whether or not he’s aware of the full situation.

Whether he is or isn’t, it doesn’t quite matter, as he wants to go further in their relationship physically, with Lili is NOT ready for. She goes home, where Gerda finds her, surprised. Lily admits everything, and while knowledge of the affair hurts Gerda significantly (GODDAMN IT MOVIES STOP THE INFIDELITY), another revelation emerges which is more important.

See, Lili and Einar seem to be dissociating, as Einar is now assigning Lili’s feelings to a separate person, and is essentially dissociating. These feelings include a past childhood kiss shared with a boy names Hans, which are now associated with Lili. But as all of this is coming to light, Einar suddenly collapses.

Einar goes to see a doctor, Jens Hexler (Pip Torrens), who believes that it’s all caused by a chemical imbalance, and decides to treat it with...radiation. That...that can’t have actually been a treatment for “chemical imbalance”, right? I mean, it’s certainly fitting with the time, but this would DEFINITELY make hormone problems and infertility WORSE, not better.

But despite this, Einar and Gerda go through with this (almost certainly didn’t happen) treatment, after which Einar says that the doctor “hurt Lili.” Deemed unsuccessful, the doctor calls Einar insane, and leaves them and Gerda, who are both upset. And that’s not made better by the fact that the doctor has reported them, and someone will take Einar to the asylum...unless they leave.

Good thing, then, that Gerda’s been asked to exhibit the paintings of Lili in Paris! They get the FUCK out of Copenhagen, and head to Paris. But with all of this, Einar’s beginning to unravel, losing even the painting side of themselves, as their relationship with Gerda also begins to change.

And I think that it’s at a Paris peepshow that Einar officially assumes the role of Lili in her own mind. So, I’m going to end the first part with the following statement:

Her name is Lili, and I’ll be referring to her as she/her from here on out. See you in Part 2!

[nerianasims]

Billboard #1s 1983

Under the cut.

Toto -- "Africa" -- February 5, 1983

This song becoming massively popular recently sort of mystifies me. But maybe it shouldn't; the music is very pretty, and we've been short on popular music that goes for "pretty" for a long time. The lyrics... I really don't know. The best explanation I've seen was someone joking on Tumblr that maybe the narrator's a werewolf. I'm sure that wasn't the intent, but it's what I'm going with. It is a good song, entirely because of the music.

Patti Austin and James Ingram -- "Baby, Come to Me" -- February 19, 1983

I'm not sure I've ever heard this song before. It's a romantic duet. It's not annoying or anything, it's fine, but now that I've heard it I think I'm probably about to forget it again immediately.

Michael Jackson -- "Billie Jean" -- March 5, 1983

This song, I've heard. A whole hell of a lot. Like everyone else, we had the Thriller album (or tape, rather.) Actually I had it -- for some reason, Thriller was seen as some kind of child's first pop album. Every kid I knew had it. (And since seeing Leaving Neverland, that has been very creepy to me.) As for me, I'd put it on and dance, especially to this song. I pretty much understood what the song was about, and even got the "His eyes looked like mine" line. I didn't have an opinion on whether or not the kid was his son. It didn't matter; it was entirely about the music. Which is truly great.

Dexys Midnight Runners -- "Come On Eileen" -- April 23, 1983

Until the last couple years, I didn't entirely know what this song was about, because I couldn't understand Kevin Rowland's weird singing outside the chorus. I got that he wanted Eileen, and that this was about the combination of arrogance and horniness of youth. I did not know about all the references to the previous generation's pop culture, with an obvious inference that they felt the same way at one time. Also about Margaret Thatcher's intentional destruction of her own country's society. You don't have to think about any of that to enjoy the song if you don't want to, though. It's a fun dance song as well as being complex lyrically.

Michael Jackson -- "Beat It" -- April 30, 1983

This is the Michael Jackson song I remember being played on the radio by far the most when I was a child. It's basically the main background song of a couple years of my childhood. It's a hard-driving song about how you should run away from a physical fight rather than die. "It doesn't matter/ Who's wrong or right." Yes. It's rock, and it's dance, and it's... probably really great? I don't know, some things are too formative.

David Bowie -- "Let's Dance" -- May 21, 1983

"Put on your red shoes and dance the blues" makes no sense. But this is David Bowie; he knew that. It's part of the point. While this song is perfectly feasable to dance to, it's not really a dance song. It's achingly romantic and not the tiniest bit soppy, with music that's both accessible and fascinating. And my god Bowie could sing. I love it so much.

Irene Cara -- "Flashdance... What A Feeling" -- May 28, 1983

I didn't see Flashdance until college, when my roommates decided we would watch a bunch of cheesy 80s movies because it seemed a brilliant thing to do. It was, actually. Some of them even turned out to be good. Not Flashdance. Flashdance is memorably stupid, at least -- it doesn't hold back. It's extremely entertaining because it's deeply unintentionally hilarious. This song, though, I've heard a lot since it came out. The song is much better than the movie. It's got a wide-eyed optimism that's appealing, and the music is fun.

The Police -- "Every Breath You Take" -- July 9, 1983

I remember people periodically insisting that many, many women don't understand this song and think it's just romantic. I have never met any of these women. I have a feeling it was only a few, and that got blown up into some kind of crisis, as things do. Especially when people can imagine angelic airheaded women being dumb and somehow inviting abuse from those scary scary men. That's a favorite hobby for many. Anyway. It's a really good song that gets into the mindset of a really bad man -- or of a man who's currently imagining being really bad but is going to wake up, deal with his hangover, and get on with life. It's not a comfortable song, and that is good. Also Sting's hot.

Eurythmics -- "Sweet Dreams (Are Made of This)" -- September 3, 1983

Usually repetitive songs drive me nuts. This song is incredibly repetitive lyrically. I love the lyrics, though. And musically, it changes up just enough to keep my interest. It's almost hypnotic. Apparently, Annie Lennox can do whatever she likes with me. Speaking of "some of them want to be abused"...

Michael Sembello -- "Maniac" --  September 10, 1983

The original demo of this song was about a serial killer, and it sounds like it, with the Psycho-like musical parts. It's not a dance song at all. Michael Sembello worked with Stevie Wonder during his best years, but he's no Stevie Wonder. He has that 70s light rock white guy voice, and it doesn't fit this song. If he'd handed this to another singer, it would have been better. Though still goofy, because it's music about a serial killer wedded to a story about a dancer. Many of the lines don't seem to have been changed either: "On the ice-blue line of insanity/ Is a place most never see." And  okay, that's a good line; I wouldn't want to leave it out either.

Also my aunt is a professional dancer (mostly choreographer now), so I've seen quite a bit into the professional dance world, and it is seriously unhealthy. It seems to be getting better, at least in modern dance, but the reason my aunt didn't go farther as a ballerina and switched to modern dance is that she could not get skinny enough for the fashion in ballet, no matter what she did. We're a muscular family with solid bones, and she couldn't get rid of that. She's got an eating disorder still though. Professional dance is harsh and terrible, and probably kills more women than serial killers do.

That's what I think of when I hear this song.

Billy Joel -- "Tell Her About It" -- September 24, 1983

Billy Joel's best songs didn't make it to #1, but that's almost always the way. This bouncy throwback of a song is still fun. With most excellent advice: "Tell her about it/ Tell her everything you feel/ Give her every reason/ To accept that you're for real." (It occurs to me that my husband is the first guy I dated who did that actually while we were dating, as opposed to waiting until after we broke up. Most of the guys I dated did not take in "I will not get back together with you if we break up." Not my fault; I told them about it.) Anyway, this isn't as good as "Big Shot," or "You May Be Right," or "My Life," or a whole lot of other Billy Joel songs I like a lot better, but it's pretty good.

Bonnie Tyler -- "Total Eclipse of the Heart" -- October 1, 1983

Melodrama, I love it. This song is so Great -- big, fantastical, unembarrassed, and awesome in both meanings of the term. Bonnie Tyler knows her strengths and has no hesitation about using that huge voice, and yet she doesn't oversing, either. The lyrics? Hell if I know. To me, it sounds like that part of a relationship where you're losing yourself and can't think about anything but the other person, and especially about having sex with the other person. But whatever else it is, it's poetry. And big thunder crashes. Which is a lot like falling in love. It's not necessarily happy. It just is.

Kenny Rogers and Dolly Parton -- "Islands In the Stream" -- October 29, 1983

Going from "Total Eclipse of the Heart" to this song induces emotional whiplash. The opening goes "Baby, when I met you/ There was peace unknown." That's the exact opposite of "Total Eclipse of the Heart." What is the same as "Total Eclipse of the Heart" is that the lyrics make no actual sense -- but of course they don't, this thing was written by the Bee Gees. Nonsensical lyrics can be poetic, but the Bee Gees didn't do poetry, at least not good poetry. Oh well, it's probably their most tolerable song. It's a sweet and light song, and I'm sure the narrators will be very happy together. They sound exceedingly "emotionally healthy." But as art, I prefer the "Total Eclipse of the Heart" take. Also I think this song might have been better with just Dolly Parton. Kenny Rogers was good, but he couldn't match Dolly.

Lionel Richie -- "All Night Long" -- November 12, 1983

Lionel Richie puts on a fake Jamaican accent for this thing. Also he makes up pseudo-African chants. I'm not going to go all "j'accuse!", at least not of problematicicity. No, I am accusing him instead of being annoying. Also dull. This is a party song, but an extremely boring one. Also Richie kind of tries to do an "ow" thing, obviously inspired by Michael Jackson, but of course it doesn't work. It's still not terrible. Unlike all the gloop Richie made, I can listen to the whole thing. The drums --  or drum machine, rather -- have a neat beat, and there are some good horns and other musical touches.

Paul McCartney and Michael Jackson -- "Say Say Say" -- December 10, 1983

Well this is weird. I can't remember ever having heard this song before. The song is about begging someone not to "play games with my affection." And it sounds like the two men are singing to each other, regardless of the lyric about getting through to a "girl." It's not bad -- Michael Jackson gives Paul McCartney the musical edge that he'd lost as soon as he left the Beatles. Strong beat, harmonica and all. But I'm not going to seek it out, either. I think the beat's too repetitive. Also it feels too busy.

BEST OF 1983 -- "Let's Dance" by David Bowie, "Total Eclipse of the Heart" by Bonnie Tyler, and "Sweet Dreams" by The Eurythmics. Great year for the pop charts. WORST OF 1983 -- There aren't any that I think are truly terrible this year, so I guess I'll go with "Baby, Come to Me," because as predicted, I have already forgotten it.