Someone should make a bumper sticker that reads So many douchebags, so little time. I'd buy it. Every week when the Douchebag Decree comes around, there are too many douches and it's almost impossible to determine who deserves the honor most. This week, we have two very strong contenders, which is why we need YOU to vote for your (least) favorite in a DOUCHEBAG SHOWDOWN. Two douches enter, one douche leaves!
Susan Douglas's seminal 1995 book Where the Girls Are: Growing Up with the Mass Media explored how woman see and are seen in pop culture, tracing feminism in
pop culture from the 1950s and '60s through the 1980s. Her newest book, Enlightened Sexism: The Seductive Message That Feminism's Work is Done, revisits the subject of women's representation in the mass media, and finds a troubling series of mixed messages, empty "empowerment," and consumer imperatives masquerading as postfeminist power.
As longtime fans of Douglas's wit, irreverance, and spot-on critique, Bitch is thrilled to feature the epilogue of Enlightened Sexism. It's after the jump, as is an interview with Douglas by Andi Zeisler.
A lot of us working/breathing/organizing in feminist/humanist/womanist communities were running from event to event last week during International Women's Day (IWD) week, and I thought I'd share some of the deconstructing thoughts I've been having aloud about what I witnessed and participated in.
Many of you already know all too well the tokenization that happens when we Indigenous and racialized women get invited to things our own communities are not putting together, the envelopes we sometimes have to push, the chastising we get from both white people and people in our own communities who don't like that we're calling ourselves feminists/womanists/humanists, so on and so forth.
The first line of Virginie Despentes' King Kong Theory (written originally in French as King Kong Theorie and then translated into English) is:
"I am writing as an ugly one for the ugly ones: the old hags, the dykes, the frigid, the unfucked, the unfuckables, the neurotics, the psychos, for all those girls that don't get a look-in in the universal market of the consumable chick."
The female condom. No one talks about it, no one uses it - it's just one of that group of contraceptives, which includes the sponge and the diaphragm, that everyone sees as outdated and useless. Hormonal contraceptives are considered the high-tech, modern method of birth control and they dominate the market. But lately the male condom had been taking back its share of the conversation – the New York health department launched a new design for the condoms they distribute, Lady Gaga is pushing her own brand and President Obama has not only overturned the condom-hating actions of the last administration but put millions of dollars into research on men's attitudes towards them – and all this is paving the way for the female version to make a comeback.
For a long time, one of my favorite vegan thinkers has been A. Breeze Harper, author of the Sistah Vegan website/blog and now the author of her newly released book of the same name—out this month! Harper also contributes to the Vegans of Color blog—see my last post for a Q&A with the blog's founder—and perhaps not surprising when you consider her blog/book's name, her work centers on the intersections of racial identity, gender identity, and veganism in the U.S.
Hello Bitch Media peeps. My name is Jessica Yee and I'm going to be guest blogging here over the next month. I'm a self-described Indigenous hip hop feminist reproductive justice freedom fighter.
I'm a huge fan of Bitch and was asked, like Nadra, to come and do a stint here from Racialicious. I live in both Canada and the United States and try to have my finger on the pulse of the social, political, and pop culture of both as much as possible since I travel across both countries for about 90% of the year.
Oh and I titled this post with the long-ass "deconstructing the academic industrial complex of feminism" because I'm really interested in having discussions about decolonization and feminism as it exists outside of the confining walls of college and university. It's going to get way more intersectional and comprehensive from here.
I was lucky enough to attend a SXSW screening of Blip Festival: Reformat the Planet, a documentary about chiptunes, an underground music form that uses hardware from old video game consoles, like classic Nintendo Game Boys and NESes, to create new, original music. Most of this music bears little resemblance to 8-bit video game music (except, of course, for the sound quality); it's more like bright, happy amped-up techno, the kind of music that makes you feel like you're going on an adventure. Reformat the Planet tracks the creation of Blip Festival, a four-day chiptune extravaganza that happens in Brooklyn and features artists from all around the world. The movie is just 82 minutes, but is packed with great live footage, interviews and insights into the chiptune-making process.
No matter how subtle and cerebral – or in the case of Lewis Carroll's 1865 tale, wonderfully meandering and weird – the original story, these days, Hollywood will figure out how to transform it into an action movie.