Archive for July, 2008
With its spacious, tree-lined grounds and slightly threadbare classrooms, there is nothing obviously unusual about the Kampang Secondary School. It is situated in Thailand’s impoverished north-east, and most of the pupils are the children of farmers. Every morning at 8 they all gather outside to sing the national anthem and watch the flag being raised. Then they have a chance to use the toilets, before heading off the first classes of the day. Kampang is proud of its toilets. Spotless, and surrounded by flowering tropical plants, they have won national awards for cleanliness. But there is something else about them too. Between the girls’ toilet and the boys’, there is one signposted with a half-man, half-woman figure. This is the transsexual toilet, and outside, in front of the mirrors, some decidedly girly-looking teenage boys preen their hair and apply face cream.
Whole article, video & photos [Found by Rimmer, thanks]
My first thought about that was “wow, that’s good, we won’t see that in western countries”. But there are some open questions… Isn’t the definition of transsexual that someone is male but born in a female body or vice versa? So it would be more consistent if these boys use the girls’ toilet. If I would see a sign like this on a toilet I would suppose it’s for both genders (that would be really progressive and cool) or for intersexuals but not for transgenders because transgender don’t mean you can’t decide or something but you have just the wrong body. But maybe they just don’t care so much about definitions. I just wonder what the female-to-male transgenders are supposed to do!?
A lonely gay teen bides his time with trips to strangers’ funerals and Ouija board sessions, desperately searching for someone to love—and a reason to live following a suicide attempt. Walking an empty stretch of highway on a autumn night, he meets a strange and beautiful boy who looks like he stepped out of a dream. But the vision becomes into a nightmare when the boy turns out to be the local urban legend, the ghost of a star athlete killed in 1957. Vintage: A Ghost Story is a romantic thriller with a quirky cast of friends, vintage clothing, Valomilk candies.
Steve Berman’s Vintage: A Ghost Story combines the vibrancy of the contemporary YA fantasy novel with the atmosphere of the traditional ghost story to produce a work reminiscent of that of Robert Aickman or Algernon Blackwood, where the ghosts exist both as manifestations of tragedies from the past and as echoes of modern loneliness and social isolation.
The protagonist of Vintage is himself initially a somewhat ghostly character: for instance, the other characters in the story rarely, if ever, speak his name. After being outed as a gay teen in his old neighbourhood and viciously accused by his parents of being a "sick child," he has run away to live with his aunt. He has stopped going to school and has instead fallen into a pattern of drifting aimlessly between his job at a local vintage clothing store and the rundown diners where he eats in order to avoid his aunt’s horrible cooking. When the protagonist meets Josh, who turns out to be the ghost of a gay teenager from the past. The protagonist is thrilled, believing that he has finally met someone he can talk to and have a relationship with. He soon discovers, however, that the secrets of the past can also endanger those who live in the present, and that it is not just Josh but his own personal ghosts which must be laid to rest if he is to have a future.
We decided to get rid of the password-system and use a user-system instead. 95% of all posts will be still public for everyone but posts containing nudity will be only visible for registered users. There will be more advantages for people who sign up in the future. Leave a comment or contact us if you have further questions.
Privacy info: To sign up you have to enter an user name and an e-mail-address. If you don’t want to use your private e-mail you can use anonymous services like BugMeNot Mail.
Sign up and become a milkboy )
Wir haben uns entschieden statt dem bisherigen Passwort-System ein User-System zu benutzen. 95% aller Posts werden weiterhin öffentlich für jeden lesbar sein, Posts mit spärlich bis gar nicht bekleideten Protagonisten werden hingegen nur für angemeldete User sichtbar sein. In Zukunft wird es für Leser die sich anmelden weitere Vorteile geben. Hinterlass einen Kommentar und kontaktiere uns wenn du weitere Fragen hast.
Hinweis zur Privatsphäre: Zum Anmelden musst du einen Benutzernamen und eine e-Mail-Adresse angeben. Wenn du nicht deine private e-Mail-Adresse benutzen möchtest, kannst du einen anonymen Mail-Anbieter wie BugMeNot Mail benutzen.
Meld dich an und werd’ ein milkboy )
Nous avons décidé d’ utiliser un système d’ inscription au lieu de l’ancien système utilisant avec des mots de passe. 95% du contenu vont rester accessible pour tout le monde. Mais il va devenir necéssair de s’inscrire pour voire le contenu contenant nudité. En future il vait avoir en plus bénfics pour les utilisateurs inscrits. Commentes ou écrites un e-mail quand tu as des questions.
Indication concernant la sphère privée: Quand tu ne veux pas utiliser ton adresse e-mail privée, tu pourrais employer un service qui serve les adresses e-mail anonymes comme BugMeNot Mail.
Inscris-toi et deviens un milkboy )
Born in 1950, Bernard Faucon created his photographic oeuvre between 1976 and 1995. It is one of the most original and important bodies of work of the late 20th century. Often exhibited, reproduced, borrowed, and collected, Faucon’s work, paradoxically, remains little known, and its place in contemporary creation is still ill defined. This is due as much to its singularity, it is a poetic, metaphysical, highly personal body of work, as to the diverse group inspired by it, from the most classic and orthodox in the photographic world to avant-garde artists, as well as novelist, directors, psychoanalysts, Japanese fashion designers.
Over the past 25 years, Bernard Faucon has shown in nearly 250 solo exhibitions and as many group shows, from Leo Castelli in New York City to Yvon Lambert in Paris, in large museums as well as small institutions, because Bernard Faucon says "yes" more easily than "no". It seems important today, ten years after the voluntary interruption of his work, to present it in its entirety, to reveal the rigor and logic behind the surprising innovation of his metamorphoses. His themes and obsessions evolve with an economy of means that increases up until the last series, entitled La fin de l’image (The end of the image): an intentional and decisive closure from which Bernard Faucon has not returned