used in this case as an antonym for "shame". It is an affirmation of self and community. The modern gay pride movement began after the Stonewall riots of the late 1960s. In June 1970, the first pride parade in the United States commemorated the one-year anniversary of the Stonewall riots—the nearly week-long uprising between New York City youth and police officers following a raid of Stonewall Inn. Vanity In conventional parlance, vanity sometimes is used in a positive sense to refer to a rational concern for one's appearance, attractiveness, and dress and is thus not the same as pride. However, it also refers to an excessive or irrational belief in one's abilities or attractiveness in the eyes of others and may in so far be compared to pride. The term Vanity originates from the Latin word vanitas meaning emptiness, untruthfulness, futility, foolishness and empty pride. Here empty pride means a fake pride, in the sense of vainglory, unjustified by one's own achievements and actions, but sought by pretense and appeals to superficial characteristics. In many religions, vanity is considered a form of self-idolatry, in which one rejects God for the sake of one's own image, and thereby becomes divorced from the graces of God. The stories of Lucifer and Narcissus (who gave us the term narcissism), and others, attend to a pernicious aspect of vanity. In Western art, vanity was often symbolized by a peacock, and in Biblical terms, by the Whore of Babylon. During the Renaissance, vanity was invariably represented as a naked woman, sometimes seated or reclining on a couch. She attends to her hair with a comb and mirror. The mirror is sometimes held by a demon or a putto. Other symbols of vanity include jewels, gold coins, a purse, and often by the figure of death himself. Often we find an inscription on a scroll that reads Omnia Vanitas ("All is Vanity"), a quote from the Latin translation of the Book of Ecclesiastes. Although that phrase, itself depicted in a type of still life, vanitas, originally referred not to an obsession with one's appearance, but to the ultimate fruitlessness of man's efforts in this world, the phrase summarizes the complete preoccupation of the subject of the picture. "The artist invites us to pay lip-service to condemning her", writes Edwin Mullins, "while offering us full permission to drool over her. She admires herself in the glass, while