Teaching the tits today has a ‘epo bourgeois’. A couple of wind tits do not scandalize anyone. Nor curiosity wake up. At most, a slight debate about the appropriate or out of place of the occurrence. More a matter of education than … act of subversion.
Nothing to see an chest was today in 1978, in front of tender Galván and Adolfo Suárez, in the middle of the transition, when teaching the female body did have a symbolic value, when that woman (Brava Susana Estrada) played bread and freedom with his actions (he was convicted of public scandal and had no right to vote or passport until 1989).
What is Inés Hernand today? What is your gesture for transgressive? His weaning jumps in front of an audience in favor of the work has little heroic, knowing that he has everything to win and nothing to lose. The febrile applause of theirs, guaranteed, makes the occurrence upward.
But he never conquered freedom or right among the cotton of hegemonic thought, never with the complacency palmadita in the man of whom he holds power. The really curious thing is that the defense of the same fact is so disparate between the same ones that argue that, to which we do not think so, what happens to us is that we are afraid of their tits.
There are tits and tits, and they coincide in time, to make us easier to understand them, that two ladies teach them but raise different reactions. On the one hand, Inés Hernand, Musa del Progreso for Eruption in front of the Chamber, smell the armpit in Prime Time and call “icon” the President of the Government (now also to call “horrible sink” to Madrid and teach the breasts sponsored by RTVE and the Valencian Community).
Nothing to see an chest out today with one in 1978, in front of tender Galván and Adolfo Suárez, in full transition
On the other, Bianca Censori, wife of rapper Kanye West, who wore a very transparent dress in the Grammy gala. To the first, his freedom and self -confidence, the daring (example) of showing his breasts were applauded from certain sectors. To the second, they accused her of being dominated by her partner, abused, coerced, vexed. The old story that it is not about who but who.
What is the difference between two women who teach the breasts? Why is one brave and, the other, a woman subjected? I am convinced by my partner Cristián Campos who points to the attractive objective of the protagonist, to the existence of threatening archetypes in the sex market (these would be frivolous, superficial or slaves and teach their breasts for incorrect reasons) and non -threatening archetypes (women women released and owners of their bodies).
The truth is that Censori looks a scandal body in front of a infantry hernand. It also happened in Eurovision a few years ago, when it was celebrated that Rigoberta Bandini sang that of “I don’t know why our tits are so afraid” (precisely the song that Hernand sang when he taught his of the participants and winner of the festival, because their song (and their wardrobe and their choreography) reified women. What were we? Is the woman free to do with her body what she wants and show it when she likes or only the women that certain women decide?
Coincidentally, or not, in this case, Chanel was also an attractive and lush woman in front of another with a physique much more infantry. Is the look of the most severe woman with the body of other women? Does it operate conditioned by this while despising her? There are breasts that seem to make control and others of submission and reification. And it does not seem to be the will to show it from the owner that determines that it be so.
#Rebeca #Argudo #tits #tits
