Mallika Dutt is the founder and CEO of Breakthrough, an organization that "uses the power of media, pop culture, and community mobilization to inspire people to take bold action for dignity, equality, and justice." Breakthrough has been successfully integrating social justice messages with pop culture and media for years now, whether it's the 3D video game ICED (I Can End Deportation) or the ad campaign Ring the Bell, calling on men and boys to end violence against women. Their latest project is America 2049, an interactive Facebook game that takes place in the dystopic, but not-so-distant future. I spoke with Mallika about the process behind developing America 2049 and how her organization uses popular culture and media to start conversations about human rights.
It's time for another episode of Bitch Popaganda! Tune in as Julie, Brian, and Kelsey discuss HBO's new George R.R. Martin series Game of Thrones and "Funny Like a Guy: Anna Faris and Hollywood's woman problem," a profile by Tad Friend in this week's New Yorker.
Not many bands mix post-punk with feminism, with Jewish heritage. At least, no one does it like the Brooklyn-based four piece the Shondes.
Alyx Vesey, who's a Bitch contributor and runs the blog Feminist Music Geek spoke with the Shondes—Louisa, Temim, Eli, and Fureigh—at this year's South By Southwest Festival. Feminism and activism is an important part of how the Shondes make their music, and in the following interview you can hear how it impacts not just their writing but their work in the studio and on tour. The band also talks about reclaiming the word shonde, Yiddish for "disgrace," what it's like to deal with heartache as an activist, and their affinity for Bruce Springsteen.
In this episode of Popaganda, Kjerstin, Deb, and Julie chat about AMC's new series The Killing, Slate's confusing article on gerontophilia, and the revelation that the Candies' Foundation spent seven times the amount on Bristol Palin that it did on preventing teen pregnancy.
Jennifer K. Stuller isn't your average Buffy the Vampire Slayer fan--she's a charter associate member of the Whedon Studies Association. In this episode of Read My Bitch, the podcast for Bitch magazine fans to read out loud a favorite article from the archives, Stuller revisits Rachel Fudge's article "The Buffy Effect: or, a Tale of Cleavage and Marketing," which was published in 1999, after the second season of the television series Buffy the Vampire Slayer. In our discussion afterwards, Stuller, a pop culture critic (author of Ink Stained Amazons and Cinematic Warriors and Grrrl on Film Bitch guest blogger), goes beyond what Buffy represents to feminists, but what legacy the Buffy has left--and what the future holds in store for small-screen heroines.
Fresh off the harddrive, this episode of Bitch Radio features women from the Make-Believe issue of Bitch! If you're into women who make pop-culture collage art (say, Sonja Ahlers, author/artist of The Selves), who make it in Hollywood sans plastic surgery or selling out (I'm talking about the hilarious Jamie Denbo of Ronna and Beverly, Weeds, and Best Buds), who document the riot grrl movement (maybe Sara Marcus, author of Girls to the Front), or who use what most people consider a nerdy pastime for social change (like LARPing expert and player Sarah Bowman), then you should not miss this podcast! Plus it features music from Twin Sister, whose latest EP, Color Your Life is available from Infinite Beat records and they are currently on tour with the Morning Benders. .
Stream it below, subscribe on iTunes or RSS, or download at archive.org. Transcription available here (.doc). (Thank you, Katie!) Script after the jump.
You've heard about Girls to the Front: The True Story of the Riot Grrrl Revolution, and now you can hear directly from the author, Sara Marcus. Ellen Papazian (of Page Turner) interviews Marcus about what Riot Grrl meant today and now, how the internet compares to zine-swapping, pushback against Riot Grrl from both within and outside the movement, and why narrative ended up being the best choice for the book.