This comic-loving cat is very disappointed in the poorly-lettered drivel that is Twilight: The Graphic Novel, Vol. 1. While Young Kim's quality manga-style artwork eliminates a lot of Meyers's interminable descriptive prose, it can't get rid of the book's counter-feminism and general ridiculousness.
Sorry, giant cat. Try something by Murasaki Yamada instead!
Several of you saw the ultra cultural appropriation performance of performances from Ke$ha on American Idol last Wednesday night - who decided in all her infinite wisdom to come out half-way through her "blah, blah, blah" song in a headdress and her version of "war paint" (I think).
It's obviously racist, ignorant, and beyond silly, but it's also an interesting statement (that I definitely won't give Ke$ha credit for knowing) about mainstream society's imagery of Native women. Not that it's her first time donning Native gear - apparently it's something she does on the regular with different pieces.
In 2008 I wrote about Juliette Lewis and her continued decision to "dress up like an Indian" with her band and what this means in her attempt to appear strong, raw, and yes even "savage" with her music. There are some particular intersections to address when we see women dressed up like this - and it has nothing to do with the fact that these people are of course getting our actual culture, traditions, and teachings all wrong.
Are you counting down the days until Glee returns for a second season (23!) or are you groaning at the mere mention of a show you hoped would be wiped from the national memory once American Idol came back on the air and satisfied the public urge to see young people engage in petty competition and sweaty vocal gymnastics?
Whichever camp you fall into, you may remember the amount of controversy surrounding Glee's use and attempted subversion of various stereotypes, which was covered in some detail by our very pithy Transcontinental Disability Choir guest blog back in November.
File it under "Where have you been for the past 26 years?," and cross-reference it with "How on earth do you have a career in news?" (you have files for both of those, don't you?): Glenn Beck came out this week as being decidedly against Bruce Springsteen's "Born in the USA". Apparently, the song doesn't send the patriotic message he's always thought it did. Really, Glenn Beck? That song came out in 1984. You have had plenty of time to listen to the lyrics whilst hosting your tea parties and singing along at douche rallies (Sorry, Boss, but I think they play your music at their rallies). Well, we're pretty astounded by your incredible lyric-deducing abilities, and so is this kitteh:
"I want to shoot Iggy*," Ivan often tells me. He and his friends want to shoot Iggy, he says, because "we don't like princesses." Iggy is a boy in my son's preschool class who wears dresses to school – often bringing several, as he may want a new look by midday -- and likes to play princess with the girls.
Why does my son have violent fantasies about this kid? It's disturbing, to say the least.
I mentioned over the weekend that I was a little too miffed after reading the terribly myopic piece in the New York Times Magazine last weekend, "The Femivore's Dilemma," to write about it then. The internets move quickly, but I figure a few days late is better than never. Since my time here is quickly drawing to a close, I figured I'd revisit the piece because it really deserves some ecofeminist deconstruction.
First, the obvious: "Femivore" is a dumb word. Why? Because it implies a diet of women.
Leonore Tiefer is Clinical Associate Professor of Psychiatry at the New York University School of Medicine and the Albert Einstein College of Medicine with an international reputation as a lecturer, author, activist and theorist in the field of sexuality. She has written widely about the medicalization of female sexuality and heads up the New View Campaign, which is a grassroots network challenging the distorted and oversimplified understanding of sexuality promoted by the pharmaceutical industry as a means to profit. In this interview she talks about her work and the race to produce a 'female Viagra.'
Wrap your work week up with an *extra special guest Bitchtapes!* Misty, a Bitch mag reader and winner our subscription contest last month for a Bitch goody bag and a shot at Bitchtapes, has handpicked a great selection of covers side-by-side with their original. Here's Misty's mix in her own words:
My choices are 5 original songs and 5 covers (though as I created this playlist, I saw some songs that I thought were originals were not, so there may be versions of even these songs from way back when). As I have no talent for music, I have always found it interesting how one musician can put out a song and another artist takes it and really makes it their own. With instantly-recognizable classics, a musician must possess a self-confidence in their abilities to take a song that so many people relate to or love and put their mark on it. Though I wouldn't describe all these originals as timeless classics, I like how each of the covers are so much more than just repeated lyrics.
Check out Misty's track list below and enjoy this reader-deejayed Bitchtapes!
While the blogosphere is still wrapping their head around the epic Telephone video, Out Magazine got a hold of Heather Cassils, whose prison-yard smooch with Gaga is one of the most talked about portions of the video. A long-time performance artist, Cassils went to the "Telephone" audition on a whim, and the kiss she and Gaga shared was completely unscripted. While her interactions with Gaga are worth a read, Cassils also speaks about her art ("I use the fact that the image is live to try to capture and transfix people, because people can walk away from a painting.") representation ("binaries are dangerous across the board"), about the co-option of queer identity for pop stars. ("That's been going on since the dawn of time.")