Nasty Women Tour

17/12/2024

17/12/2024

⚠️⚠️WARNING! TRIGGER ALERT! ⚠️⚠️
Sada Abe’s story is one of intense love, obsession, and tragedy, a tale that captivated Japan in 1936 and continues to resonate in cultural and psychological discussions today. Born in 1905 in Tokyo to a middle-class family, her early life was marked by turbulence. Sada rebelled against societal norms, engaging in acts of petty crime and s*xual exploration as a teenager, which eventually led her to work as a geisha. Though trained in the arts and conversation, she found little satisfaction in the role and transitioned to s*x work, where her charm and charisma drew significant attention.

Her life took a dramatic turn when she met Kichizo Ishida in February 1936. Ishida was a former soldier turned businessman who owned a restaurant in Tokyo. He was married and older than Sada, yet their physical and emotional connection quickly grew into an all-consuming love affair. Their relationship was marked by intense s*xual exploration, prolonged encounters, and growing isolation from the outside world. The couple became inseparable, abandoning their daily responsibilities to indulge in their passionate liaison, often disappearing for days at a time in rented rooms. As their bond deepened, Sada’s feelings for Ishida transformed into a dangerous fixation.

Sada became increasingly possessive of Ishida, fearing that his attentions would eventually return to his wife or other women. Her jealousy and obsession reached their peak during one of their clandestine meetings in May 1936. While engaging in erotic asphyxiation, a practice they had experimented with before, Sada accidentally strangled Ishida to death. Overcome with grief and a desire to possess him entirely, she mutilated his body, severing his genitalia, which she wrapped in a cloth and kept with her as a token of their love. Sada later confessed that she wanted to preserve a part of him forever, believing this act was the ultimate expression of her devotion.

The discovery of Ishida’s body sent shockwaves through Japan, and Sada’s subsequent capture created a media frenzy. Newspapers sensationalized the case, dubbing her the “Woman Who Loved Too Much,” and the public became obsessed with the lurid details of her crime. Her trial drew massive crowds, with people eager to hear her testimony and understand the motivations behind her actions. Sada remained unapologetic, describing her love for Ishida as all-consuming and insisting that her actions were borne out of an unparalleled devotion.

After being convicted of murder and mutilation, Sada was sentenced to six years in prison, though she served only five. Upon her release, she disappeared from public view, living quietly under assumed names and shunning the spotlight. In the decades that followed, her story became a subject of fascination for artists, filmmakers, and writers, serving as a potent symbol of the extremes of passion and the destructive potential of obsessive love.

Sada Abe’s case continues to provoke discussions about the nature of desire, autonomy, and societal constraints on women’s s*xuality. In a rigidly patriarchal society like 1930s Japan, her actions were seen as both a shocking aberration and a challenge to cultural norms. Her story has inspired numerous artistic interpretations, most famously in the 1976 film *In the Realm of the Senses*, which portrays her relationship with Ishida as a feverish descent into erotic madness. Sada Abe remains an enduring and controversial figure, a reminder of the thin line between love and possession, passion and destruction.

17/12/2024

02/12/2024

Lawrence Alma-Tadema’s The Women of Amphissa captures a moment of compassion and cultural unity rooted in ancient Greek history. The painting illustrates a scene from a story recorded by Plutarch in the first century CE. It depicts a group of women from the city of Amphissa providing refuge to priestesses of Dionysus who, after participating in a wild Bacchic festival in Delphi, wandered into their city exhausted and disoriented. Rather than condemning these women for their seemingly scandalous behavior, the women of Amphissa protected and cared for them, understanding their sacred role in honoring Dionysus.

Alma-Tadema masterfully recreates this scene with an opulent attention to detail. The priestesses, draped in loose, flowing garments, lie languidly on the white marble pavement, their postures expressing exhaustion and vulnerability. Their crowns of ivy and floral adornments are remnants of their frenzied celebration, emphasizing the contrast between the intensity of their devotion and their current state of repose. Surrounding them, the women of Amphissa tend to their needs with quiet empathy, offering food and drink in a gesture of solidarity. In the background, a crowd of onlookers watches with curiosity and perhaps a sense of respect for this act of mercy.

The painting reflects Alma-Tadema’s characteristic blend of historical storytelling and aesthetic beauty. It explores themes of unity, compassion, and the recognition of shared humanity across cultural and religious divides. The women of Amphissa act as mediators between the sacred and the everyday, showing that even in moments of misunderstanding or cultural tension, empathy can bridge the divide. Through this composition, Alma-Tadema celebrates the timeless values of kindness and communal care, presented in the richly textured and idealized world of ancient Greece.

25/10/2024

December 20, 1986: Jean-Michel Basquiat, Debbie Harry, and William S. Burroughs at Burroughs' New York apartment.

24/10/2024

The story of "Happy Birthday to You," arguably the most recognizable song in the English language, is rooted in the often-overlooked contributions of two sisters, Mildred and Patty Hill. Their work not only gave rise to a global tradition but also reflects the broader tendency for women’s contributions to American culture to be marginalized or forgotten.

In the late 19th century, Mildred J. Hill, a musician and composer, and her younger sister Patty Smith Hill, a kindergarten teacher and educational pioneer, collaborated on a simple yet influential tune that would go on to have an unexpected legacy. The song's melody, which was originally written for a classroom setting, was not meant to accompany birthday celebrations at all. Instead, the Hill sisters composed it as part of a songbook for young children titled Song Stories for the Kindergarten (1893). The tune was originally called "Good Morning to All," with lyrics meant to greet children at the start of the school day. Mildred composed the melody, while Patty wrote the lyrics, the pair aiming to create a welcoming, easy-to-sing song for young children that reflected their philosophy of early childhood education.

Patty Hill, who was a leader in the progressive education movement, believed that early education should be joyful and inclusive, and their song was a reflection of that approach. However, what neither sister could have predicted was that this simple greeting song would soon be adapted by others, who replaced "Good Morning to All" with "Happy Birthday to You" and repurposed the melody for birthday celebrations. By the early 20th century, the song had evolved into its now-famous form and was being sung at parties around the world.

Despite the widespread popularity of the song, the Hill sisters were not immediately credited for their creation. As the birthday version of the song gained traction, it became commercially exploited without acknowledgment or compensation to its original authors. In 1934, an unauthorized version of the song was used in a Broadway musical, which led to a legal battle over its rights. It was only after years of legal wrangling that the Hill family secured proper royalties for the song. Yet, even with this victory, the true origin of "Happy Birthday to You" and the contributions of Mildred and Patty Hill largely faded from public memory.

Mildred, who passed away in 1916, never lived to see the song's monumental rise to fame. Patty, however, continued to advocate for education reform throughout her life and remained connected to the educational field, but the sisters' impact on American culture was overshadowed by the ubiquity of their song. It was not until decades later that historians and musicologists began to rediscover the Hill sisters' role in creating the melody that had become so deeply embedded in everyday life.

24/10/2024

🎨 Sofonisba Anguissola, Self-Portrait, c. 1556, varnished watercolor on parchment, 8.3 x 6.4 cm (Museum of Fine Arts, Boston). The medallion is inscribed in Latin: “The maiden Sofonisba Anguissola, depicted by her own hand, from a mirror, at Cremona.”

Sofonisba Anguissola was an artist who came from a noble family in Cremona (northern Italy). She is well known for the paintings she made of herself and her family (she was the oldest of seven children). In 1559, she became a lady-in-waiting to the Queen of Spain, Elisabeth de Valois, and continued to produce works while at the court of King Philip II until 1573. Interestingly, Sofonisba painted at least twelve self-portraits at a time when this was not a particularly common subject for artists (in the next century, Rembrandt would be the first artist to make the self-portrait a major part of his oeuvre).

Women in Renaissance Italy were generally barred from becoming apprentices to “master artists” (the standard way in which artists were trained during the Renaissance). Female artists tended to come from families where a father (or sometimes a brother) was an artist. In this way, they could receive training and bypass the apprenticeship system. Sofonisba is atypical in this respect—her father was not an artist. Instead, she studied with other artists—with Bernardino Campi as well as Bernardino Gatti (Il Sojaro)—who exposed Anguissola to the fundamentals of painting, such as the importance of disegno (drawing or design).

22/10/2024

When Danuta Danielsson stepped out of a crowd in the Swedish city of Växjö in 1985 and hit a neo-N**i with her purse, the photo quickly became famous around the world. Danielsson was widely praised back then: Her mother had reportedly survived a German N**i concentration camp.

09/10/2024

Growing up in Damascus, Syria, Yusra and Sara led relatively normal lives, centered around their passion for swimming. Their father, Ezzat, recognized their talent early on and became their coach, nurturing their abilities and dreams. Yusra's skill in the pool was evident as she competed for Syria in world championships, showcasing the potential for a bright future in the sport.

However, the outbreak of the Syrian Civil War in 2011 shattered their lives and dreams. The conflict, which began as a peaceful uprising against President Bashar al-Assad's regime, quickly escalated into a full-scale civil war. The Mardini family, like millions of other Syrians, found themselves caught in the crossfire of a brutal conflict that has since claimed hundreds of thousands of lives and displaced millions more.

The war's impact on the Mardini sisters was both immediate and profound. Their home was destroyed, a stark symbol of the physical devastation wrought by the conflict. The incident involving their father, Ezzat, who was mistaken for someone else, arrested, and tortured, underscores the arbitrary nature of violence in war zones and the breakdown of civil society. The unexploded bomb that landed in Yusra's training pool serves as a chilling reminder of the constant danger that pervaded every aspect of their lives.
Faced with this dire situation, Yusra and Sara made the difficult decision to flee their homeland in 2015. Their journey was part of the larger refugee crisis that saw millions of Syrians and others from conflict zones seeking safety in Europe. The sisters' experience on the overcrowded boat, designed for seven but carrying 20 people, is emblematic of the desperate and dangerous conditions many refugees face in their search for safety.
The pivotal moment of their journey came when their boat began to sink in the Aegean Sea. The sisters' decision to jump into the cold water along with two others to help guide the boat to safety is an extraordinary act of heroism. For three hours, they swam alongside the boat, literally keeping hope afloat for all aboard. This act not only saved lives but also demonstrated the incredible strength, both physical and mental, that Yusra and Sara possessed.
Upon reaching Le**os, the sisters' journey was far from over. Like many refugees, they faced the challenge of building a new life in an unfamiliar land. Their eventual settlement in Germany and connection with a swim coach near their refugee center marks the beginning of a new chapter in their lives.

Yusra's participation in the 2016 Rio Olympics as part of the Refugee Olympic Team was a powerful moment of triumph. The creation of this team by the International Olympic Committee was a significant gesture of inclusivity and recognition of the global refugee crisis. Yusra's performance in the 100m butterfly, where she won her heat, served as an inspiring symbol of resilience and hope for refugees worldwide.

The sisters' involvement in the Netflix film "The Swimmers" brings their story to a global audience, helping to humanize the refugee experience. By sharing their journey, Yusra and Sara contribute to a broader understanding of the challenges faced by refugees and the potential they hold when given opportunities.

08/10/2024

The Candaces of Meroe were the queens or queen-mothers of the ancient Kingdom of Kush, a powerful Nubian civilization that flourished in what is now Sudan. The title "Candace" (or Kandake) referred to the ruling queen or queen regent, and the women who bore this title played significant roles in governing and shaping the history of Kush, particularly during the period when Meroe was the capital city, roughly from 284 BCE to 314 CE.

The Kingdom of Kush, known for its wealth, military strength, and cultural influence, had a distinctive approach to leadership in which royal women often wielded considerable power. The Candaces were not merely ceremonial figures but powerful rulers in their own right, and some governed independently of male kings. During the period around 170 BCE and later, several Candaces ruled alone, demonstrating the centrality of female leadership in Kush*te society.

Meroe, located along the Nile River, became the capital of Kush after the decline of Napata, the previous center of the kingdom. It was a thriving hub of trade, culture, and metallurgy, particularly known for its iron production. The wealth and strategic location of Meroe contributed to the prosperity of the kingdom and the prominence of its rulers, including the Candaces.

Candaces played pivotal roles in both the political and military spheres of Kush. They were not only involved in the administration of the state but also led armies and defended the kingdom from external threats. One of the most famous Candaces, Amanirenas, led a resistance against the Roman Empire in the first century BCE. She successfully fought off Roman advances into Kush*te territory and negotiated a favorable peace treaty with the Roman Emperor Augustus. This feat is a testament to the strength and leadership capabilities of the Candaces, particularly in a time when the Roman Empire was expanding and subjugating many other regions.

The Candaces were also important figures in the religious life of Kush. They were often associated with the worship of the kingdom's gods and played key roles in religious rituals, further enhancing their influence and authority. The queen was seen as a divine figure, embodying both political and spiritual power. In some representations, the Candaces are depicted with symbols of authority, such as crowns and scepters, and their images are often found in temples and monumental art, showcasing their revered status.

The period during which the Candaces ruled independently, around 170 BCE and onwards, marks a significant chapter in the history of Kush, where the matriarchal line held sway over the kingdom. This era is notable for its demonstration of how women in Kush*te society could hold the highest offices of power and command respect as sovereign rulers. Their reigns were characterized by stability, military success, and economic prosperity, as Meroe continued to thrive as a cultural and trade center, connecting Africa with the Mediterranean and beyond.

08/10/2024

Emily Dickinson and Susan Gilbert's relationship began in 1850 when both were young women on the cusp of adulthood. Their initial meeting sparked a profound connection that would endure and evolve throughout their lives. Gilbert, who later became Emily's sister-in-law by marrying her brother Austin, played a multifaceted and crucial role in Dickinson's life and work.

As a mathematician-in-training, Gilbert brought a unique perspective to her relationship with Dickinson. This intellectual background likely contributed to her ability to appreciate and engage with Dickinson's complex and innovative poetry. The two women shared a deep bond that transcended conventional friendship, with Gilbert becoming an integral part of Dickinson's creative process.

In her role as Dickinson's primary reader and editor, Gilbert provided invaluable feedback and support for the poet's work. Dickinson, known for her reclusive nature, found in Gilbert a trusted confidante with whom she could share her most intimate thoughts and artistic creations. This literary partnership allowed Dickinson to refine her craft and develop her unique voice, which would later be recognized as one of the most distinctive in American poetry.

The nature of Dickinson and Gilbert's relationship has been a subject of scholarly debate and speculation. Some historians and biographers argue that their bond went beyond friendship and literary collaboration, suggesting that Gilbert was Dickinson's true love and perhaps her romantic partner. This interpretation is based on the passionate and intimate language found in their correspondence and the depth of their emotional connection.

Dickinson's letters to Gilbert while she's away speak for themselves:

When I look around me and find myself alone, I sigh for you again; little sigh, and vain sigh, which will not bring you home.

I need you more and more, and the great world grows wider... every day you stay away — I miss my biggest heart; my own goes wandering round, and calls for Susie... Susie, forgive me Darling, for every word I say — my heart is full of you... yet when I seek to say to you something not for the world, words fail me... I shall grow more and more impatient until that dear day comes, for til now, I have only mourned for you; now I begin to hope for you...

Now, farewell, Susie... I add a kiss, shyly, lest there is somebody there! Don’t let them see, will you Susie?

07/10/2024

In the late 19th century, the body of a young, unidentified woman was pulled from the River Seine in Paris. Presumed to be a teenager who had taken her own life, her identity remained a mystery, and she became known as "L'Inconnue de la Seine," the Unknown Woman of the Seine. Authorities, hoping to identify her, displayed her body at the Paris Morgue, a common practice at the time to encourage recognition. However, no one came forward, and her story ended there, except for one striking detail: her serene and peaceful expression.

A doctor or mortician, captivated by the tranquility of her face, made a plaster cast of it. This "death mask" quickly became an object of fascination, and replicas were produced and sold across Europe. Her peaceful, enigmatic expression resonated with the Romantic ideals of beauty and mystery. Over time, artists and writers became entranced by her likeness, comparing her serene smile to the Mona Lisa, and L'Inconnue’s face became an icon in Parisian culture, symbolizing the unknowable beauty of the tragic.

Her legacy took an unexpected turn in the 1950s and 60s when CPR was being developed. As mouth-to-mouth resuscitation gained prominence, two doctors—Archer Gordon from the American Heart Association and Bjorn Lind—realized that medical students needed a better way to practice the life-saving technique. Practicing on one another risked injury, so they sought help from a Norwegian toymaker, Åsmund Laerdal, to create a mannequin for training.

Laerdal, already committed to the cause after saving his own son from drowning, agreed to design the dummy. While searching for the right face for this mannequin, Laerdal recalled seeing the death mask of L'Inconnue de la Seine. Her face, calm and neutral, seemed perfect—soothing and non-threatening. This became the face of the mannequin, which was named "Resusci Anne," or "Annie," and went on to revolutionize CPR training.

Since the 1960s, Resusci Anne has become the most widely used CPR dummy in the world. It’s estimated that over 300 million people have been trained using this mannequin, earning her the title of "the most kissed girl in the world." The connection between L'Inconnue’s peaceful death mask and her role in teaching millions to save lives adds a poetic layer to her story. Though she died young, her face has indirectly contributed to countless rescues, a strange and beautiful legacy for someone whose life ended in anonymity.

07/10/2024

07/10/2024

Maria Rasputin, the daughter of Grigori Rasputin, lived a life that was complex and often overshadowed by her father’s infamy. Grigori Rasputin’s mystical influence over the Romanov family and his controversial reputation made him one of the most infamous figures in Russian history, but Maria’s life was equally extraordinary.

Born Matryona Grigorievna Rasputina in 1898 in Siberia, Maria grew up in a world that was far from ordinary. As her father’s influence at the Russian imperial court grew, her family’s life transformed, placing her in close proximity to power, privilege, and peril. Maria saw both the opulence of the royal court and the growing public animosity toward her father. Grigori Rasputin became a polarizing figure, blamed for Russia’s troubles, and Maria had to witness the dangers of being associated with him.

After Rasputin was murdered in 1916, Maria’s life was thrown into chaos. The Russian Revolution soon followed, leading her to flee the country. She eventually found herself in Europe and, later, the United States, where she began one of the most unconventional chapters of her life: working as a lion tamer in a circus. Her career as a circus performer, particularly as a female lion tamer, was both dangerous and sensational, adding to her mystique.

Maria also wrote several memoirs about her father, attempting to correct what she believed were misconceptions about him. In her writings, she portrayed him as a man of faith, misunderstood and maligned by those who feared his influence over the Romanovs. She was fiercely protective of his legacy, but her own story stands out as one of resilience and adaptability.

Her life was marked by reinvention, moving from aristocracy to the circus, from the trauma of her father’s death to the challenges of life as a refugee.

27/09/2024

This work is attributed to the international sculptor Monica Angel, crafted in Carrara marble—a material historically favored for its fine grain and pristine white color. Carrara marble has been used for some of the most iconic sculptures in history, including works by Michelangelo and Bernini. In this piece, Angel showcases her mastery of detail and texture, particularly in the ornate headdress and the soft, serene expression of the subject.

The sculpture is currently exhibited at the Xiong Folk Art Museum, which, though named after a Chinese artist, is interestingly located in New York, NY, United States. This museum may represent a confluence of global art, displaying a wide range of traditional and contemporary folk arts from various cultures. Angel’s work likely fits into the museum’s collection by emphasizing traditional craftsmanship and aesthetic beauty, while also exploring contemporary themes.

The meticulous attention to the facial features, particularly the subtlety of the eyes and lips, paired with the delicate ornamentation, suggest that the piece might reflect an idealized form of femininity or an archetype of historical figures. The headdress and the jewelry indicate that this could be a depiction of a royal or noble woman, inspired by European or perhaps even Eastern fashion motifs.