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Colour Codes: Flagging in the Queer Community

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The versatile bandana can be found in all the colours of the rainbow and years before Gilbert Baker designed the rainbow flag, the most recognised symbol of the queer community, some were already flagging.
In a time where a discreet means of finding other queers and a means of quickly identifying interests was needed, bandanas or hankies which were readily available in a variety of colours and prints. They were worn wrapped around biceps or tucked into the back pockets of pants and, both their colours and placement, left side or right, became the key in a system of coded messages signalling an individual’s sexual proclivities, tastes and kinks: the ‘hanky code.’
The code is generally believed to have been ‘officially’ launched in 1972 by Alan Selby of Mr. S Leather and Ron Ernst and Pat O’Brien of Leather ‘n’ Things. They worked together at this time, developing many of the products that are today considered classics of leather style. This was when Mr. S Leather was still based in London UK, well before there was a retail outlet in San Francisco. Selby described the circumstances that led up to the publication of an initial list of coded colours:
“We had gotten an order in from a bandana company and they had inadvertently doubled their order. Since we’d just started doing business with them we didn’t want to return the order, so we had to think up a way of selling all these extra dozens of bandanas…the hanky code took off like a whirlwind and spread internationally…we worked together deciding which colours were going to represent what.”
Flagging is a way of communicating basic information without needing to speak. Bandanas are soft introductions. They are self-labelling devices, material imbued with meaning, intended to provide enough information for cruising parties to determine the likelihood of an erotic match. In many cases, they provide a way of making an initial connection.
When worn on the left side you were recognised as a top, and right side, bottom. This was a universal recognition signal. While it initially started with only a few colours, an expanded array of specialty colours (and coded objects) were developed to convey, what are in many cases equally obscure sexual practises.
There are many many different colours and meanings behind the hanky code as it has evolved. Here are a few examples of a more modern take on the Hanky Code.
In addition to gay and bi men, lesbians would also wear their keys hanging on a chain from their pockets to indicate top or bottom. This code followed the hanky code rules with keys hanging on the left indicating top, or keys on the right, bottom.
People involved in the leather scene used to (and sometimes still do) wear their keys clipped to their belt loops based on their sexual preferences: on the right side to indicate that the wearer is a bottom, and left if she’s a top. One oft-repeated theory says a Village Voice writer once jokingly suggested that gay men should dispense with this binary key system and develop a more complex system to reflect a broader taxonomy of sexual desire, thus sparking the creation of the hanky code.
The beltside key ring is one of the most enduring sartorial symbols of lesbian culture, one of the few stereotypes of our kind that’s both inoffensive and true. Baby queers searching the internet for ways to find their people and send out lesbian vibes will learn that “the universal key chain signal for lesbians is the carabiner clip” and even straight people know it.
The hanky code has most often been associated with gay and bisexual men, though it doesn’t belong to just them. In more recent years, femmes in the queer community have developed their own form of flagging in response to femme invisibility. Femme invisibility is the term for what feminine-looking queer women experience when they try to convince other lesbians that they are, in fact, queer. It’s the utter lack of being seen as lesbians. For most femmes, bandanas or keys hanging from pockets would stand out rather than be discreet.
The idea behind femme-flagging manicures is that they’ll signal to nearby queers that you’re a woman who is attracted to other women. Primarily, most femmes will paint all their nails one color, and then paint their ring fingernails, or ring and middle fingernails, a different color (their “flagging” color). A pink manicure with a glitter ring finger, for example, could mean “femme for femme” (i.e. I am a femme lesbian who prefers to date other femme lesbians). Meanings traditionally parallel the traditional hanky code colors –- i.e. grey for bondage, black for S&M, light blue for oral, and so on.
The one potentially fatal flaw of the finger-flagging system is the two-toned approach to nails has become a larger, mainstream trend among straight women as well. Just like some straight dudes just put handkerchiefs in their pockets because it’s convenient, some women paint their nails different colors because it’s pretty.
Another way of flagging in the community, specifically the Asexual community in this case is by the use of a ring. Called the Ace Ring - this is a plain black ring, usually worn on the middle finger of the right hand. Tungsten carbide or Hematite are the most popular types of rings, but any material can be used. Originally discussed as an idea of the AVEN (Asexual Visibility & Education) message boards, this idea has caught on since it was proposed in 2005. For many, the ring is not only about signalling their identity but also gives a reminder that they are not alone.
While there has been a resurgence in the hanky code after it fell out of use, not everyone within the Queer community engages in signalling. So don't assume that because someone is not signalling, that they aren't part of the queer community. However, many of these signals endure today, many lesbians can't be found without their trusty caribiner clips, and the ace ring is still popular. Many use these symbols today as a reminder that they are not alone and there is a community that is just like them. If you feel an urge to display some of these codes, go ahead! you may make someone's day.... or yours ;)
Providing support for 2SLGBTQ+ folks experiencing food insecurities within the city of London
Queer Events acknowledges with gratitude the traditional territory upon which we operate. Deshkan Ziibiing is on the traditional territory of the Anishinaabek, Haudenosaunee, Lenape and Attawandaron Nations – each of whom have left their lasting mark upon the history of this area. Today, Deshkan Ziibiing and the surrounding area are subject to the Upper Canada treaties and specifically the Longwoods Treaty of 1822.
Queer Events acknowledges with gratitude and respect, the longstanding relationships of the three local First Nations groups of this land and place, Deshkan Ziibiing also known as London, Ontario.
The three current and long standing Indigenous groups of this geographic region are the Anishinaabek, the Haudenosaunee and the Lenape. The three First Nations communities closest in proximity to us are the Chippewa of the Thames First Nation (part of the Anishinaabe), Oneida Nation of the Thames (part of the Haudenosaunee), and the Munsee-Delaware Nation (part of the Lenape).
We also acknowledge the Attawandaran (Neutral) peoples who once settled this region alongside the Algonquin and Haudenosaunee peoples, and used this land as their traditional beaver hunting grounds.
We recognize and deeply appreciate their historic connection to this place. We also recognize the contributions of Métis, Inuit, and other Indigenous peoples have made, both in shaping and strengthening this community in particular, and our province and country as a whole.
Today, London and the surrounding area are subject to the Upper Canada treaties and specifically the Longwoods Treaty of 1822.
We recognize that our work takes place on these traditional territories. Land acknowledgements do not exist in a past tense, or historical context: colonialism is a current ongoing process, and we are mindful of our present participation.
We recognize the impacts of colonization on our Two Spirit and Queer Indigenous communities. Before colonization, Two-Spirit people were included and respected as valued community members, often holding revered roles such as healers, matchmakers, and counsellors, among many others. As part of the colonization process, there has been an attempted erasure of Two-Spirit people. The western religious values and belief systems that were imposed on Indigenous people condemned any sort of sexual or gender diversity, and Two-Spirit and Queer Indigenous people were killed or forced into assimilation and hiding. One of many lasting impacts of colonization on Two-Spirit and Queer people, is an increased level of homophobia and transphobia within many Indigenous communities.
Queer Events stands in solidarity with the Indigenous peoples who are the caretakers of this land. As an LGBT2Q+ organization Queer Events is committed to be constantly working together with Queer Indigenous and Two Spirit members of our community to
Queer Events supports the Calls to Action from the Truth and Reconciliation Commission on Canada as well as the Calls to Action that are not listed but originate from the Indigenous peoples on this land. We ask that you educate yourself on the following:

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[archiveorg NightmareInBadhamCounty1976WomenInPrisonExploitation width=640 height=480 frameborder=0 webkitallowfullscreen=true mozallowfullscreen=true]

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Exploitation , prison , sexploitation , nudity , convicts , prisoners , whipping , strapping , corporal punishment

. Of possible interest to film students and bad film buffs, two versions (TV and theater) of a scene from a cheesy TV-movie. "Nightmare in Badham County" was first shown on television in 1976 to capitalize on the then-popular women-in-prison exploitation trend. A racier R-rated version with added nude scenes was then released to theaters as "Nightmare" (and later on video). First, the TV version (from grainy foreign-dubbed copy) shows Tina Louise, of all people, as a tough prison guard who whips a prisoner with a strap for stealing food. Next, corrupt sheriff Chuck Connors rips off Lynne Moody's shirt (topless closeup added for theater release -- mpeg transfer is unfortunately dark). Last, the alternate theatrical version of the strap spanking scene with different actors. Note the especially slimy, lecherous lesbian guard who replaces Tina Lousie. * See the postings for "Terminal Island" and "Sweet Sugar" for more Women in Prison clips and trailers. * Also go to: Trailers: Women in Cages & The Big Bird Cage, prison exploitation

Addeddate
2010-10-21 15:23:51

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color

Ia_orig__runtime
2 minutes 1 seconds

Identifier
NightmareInBadhamCounty1976WomenInPrisonExploitation

Run time
2:01

Sound
sound

It's garbage, no matter what decade it's produced or how bad the quality is.

Clips from films can be sampled under "Fair Use" guidelines, for purposes of comparison, education, parody, etc. Entire films, which I do not upload, are for public domain items only. This film can be purchased through the usual sources for those who are interested.

If this is permitted on here as a short clip, where is the full version? Trust me, you want to be able to see the whole movie. And it's quite engrossing.
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Jack Sparrow and his crew finally reached Isla Cruces where the Dead Man's Chest was buried. There, they were reunited with Will, who had been told the location of Bootstrap. Unfortunately, the chest was guarding by Davy Jones worshipping cannibals led by Maccus, the first person to join Jones' crew and the one placed in charge of protecting his heart. Maccus was more than happy with the arrangement since it meant he had run over the island. The crew were quickly captured. Maccus notices Elizabeth's beauty and decided to keep her as a slave for what was called "raiding", while feeding the rest of the crew to the Kraken. Raiding was basically a polite word for rape. As a governor's daughter, Elizabeth would have been far too embarrassed to say the word rape. Maccus made her strip naked. Elizabeth was secured to the whipping frame, ready for her first lesson in slavery. She was now spreadeagled with her arms tied up and out to a beam above her, just high enough for her to have to stand on tip-toe, which made her back well stretched. One of the natives had kicked her legs apart and secured them. Elizabeth was left this bondage for a while. She could see the rest of the crew being into two wooden ball cages, one of the crew forced into one cage and the others in the rest. Maccus returned and announced Elizabeth's sentence. "Fifty lashes" Maccus swung his arm over his head and brought the whip down with a massive hiss and then a deep thud as it into Elizabeth's back. "One" Elizabeth's convulsed under the attack and she struggled to maintain her footing but the ropes were tied securely so her movement was limited to an involuntary spasm. Maccus swung back for the second lash. With a slight twist of his body as well this time, the whip crashed even harder against Elizabeth's back, landing with that smacking sound which only leather meeting human flesh produces. The trace of the first lash was now clearly visible as a pale coloured line straight across the broadest part of the back. The second lash mark started to emerge from the whiteness of her skin, a loud hiss and splat announced the delivery of a third. Each lash mark appeared parallel to the others, just half an inch apart ...leaving plenty of space for more! Which, indeed, Maccus continued to deliver. Two more thunder some lashes brought the first cry of agony from Elizabeth. After some further adjustment of his position, to perfect the weight transfer from his back foot forwards while swinging the whip, putting his whole body weight behind each lash, Maccud had found a steady rhythm. The second five strokes were delivered by Maccus with equal enthusiasm, leaving Elizabeth hanging in her bindings, quivering and groaning as each lash bit into her back. THWACK! "Ten" The next three strokes were delivered with similar ferocity. Another ten lashes and Elizabeth's spread-eagled back was perfectly decorated with twenty three perfectly parallel stripes. Elizabeth’s body was now constantly quivering, her chest heaving as if panting for breath, and a steady groan escaped from her mouth. Lash number twenty four flayed leather across human skin and elicited a strangulated scream. Elizabeth's body convulsed as if in spasm but the securing ropes prevented much movement. Maccus swung the whip back, ready for another snaking trajectory, hissing its way to impact across the soldiers just time. The next lash impacted a greater force and results in a devastating cut which Elizabeth thought would slice her in two. She let out an almighty roar of pain. So far the lash marks were quite distinctive as twenty six parallel lines coloured against the white skin. The twenty seventh stroke whistled through the air and landed with as much force as the others, quickly followed by a howl of pain from Elizabeth. "Twenty seven" The next three lashes flayed Elizabeth's quivering back. She was reduced to a low moaning whimper, reserving all of her remaining strength to deal with the pain which as wracking right through her body. Her back was now criss crossed with lash marks, drawing blood. By forty nine lashes, Elizabeth was deduced to a whimpering wreck. The final lash crashed right across the centre of her well marked back, forcing her one final scream. The fifty lash marks were evenly spread all over her back, from shoulders to waist. Maccus inspected the striped back. Elizabeth then saw one of the cages, the one that had one man inside, being lowered, followed by the other one. Then, the Kraken burst from the sea. Elizabeth couldn't make much out of what was going on. All she saw was the lower fall into the Kraken
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