As someone who is not only the world's biggest fan of Arrested Development (seriously, try me) but who has also dreamed of going on a date with Jason Schwartzman since his Rushmore and Phantom Planet days, I am struggling with this photo:
Another Bitch podcast ready for your aural consumption! Like the Action issue, this podcast speaks broadly to the theme: Annie Leonard on the big deal with cap and trade, what Lady Gaga has to do with labor unions, and one feminist film buff who loves action movies (and thinks that Judi Dench should be in more of them!) Plus, music by Brooklyn duo Buke and Gass, whose debut full-length album Riposte is due out September 14th from Brassland records. Stream it below, subscribe on iTunes or RSS, or download it! Podcast script and links after the jump!
Want to know the story behind the Story of Stuff? In this interview, Annie Leonard talks about how the original Story of Stuff came about, how she got into activism, the backlash she got for covering cap and trade from within the environmental movement, and why its important for celebrity activists to push the envelope. Check out The Story of Stuff website on the truth about cap and trade, bottled water, and cosmetics.
The Michigan Womyn's Music Festival is next week.
Having not grown up in North America and having taken a fairly circuitous route to feminism, the first time I ever heard of Michfest was about seven years ago in the Inga Muscio book Cunt, where Muscio talks about what a transformative experience it was to be completely surrounded by only women for a week. Then, a few years later, while I was attending a writing retreat for women of colour at the Leaven Centre in Michigan, one of the women began to talk about Michfest, and their womyn-born-womyn policy (WBW), i.e. the fact that only cisgendered women could attend Michfest. I was stunned.
Cinematic depictions of spies devoid of engaging personalities are no novelty. In fact, with the exception of James Bond, more often than not, cinematic spies tend to provide more authenticity when they are not weighed down with personality traits at levels best left to proverbial used car salespeople and late night, television discount electronics peddlers
We've taken a look at the past these past two months. It's like looking at a star, shining brightly from some other corner of the galaxy; by the time the light reaches our eyes, a hell of a lot of time has passed. Okay, it's not like that at all. Many of these stories are more like train wrecks—ugly, despicable, and very messy, with many bodies left as aftermath. But no two moments have been the same.
Gratuitously girly writing implements, knee-highs paired with chunky Mary Janes, faux Oxford collars, Coolio's "Rollin' with My Homies", and Paul Rudd's career—Thanks, Clueless! Fifteen years ago, the bubbly feature launched the success of these trends--for better or worse—and a television show with a theme song almost as sticky as Cher's situation with Christian. But, this post isn't about the gang. It's about That Dog, the surprisingly overlooked 90s pop punk quartet who have stolen my heart.
Most people with a finger on the pulse of pop culture (and I'm guessing that includes you if you're reading this) know that the new season of AMC's Mad Men premiered on Sunday. Now, for those of you who are waiting for it to come out on DVD, fear not: This is our weekly advertising forum, so no plot spoilers will be revealed here. I want to talk instead about the ways in which advertising is being dealt with within the show so far. (If you're interested in a plot discussion though, I like Slate's TV Club. Good stuff.) Now, on to the advertising!