The top-secret, on lock-down Confidential issue of Bitch magazine is hot off the press! And before it even hits newsstands (or mailboxes for our wonderful subscribers), you can read three! new! articles! right here on the Bitch website. Has nostalgia mucked up our remembrance of Betty Friedan's The Feminine Mystique? Eryn Loeb takes a look in "Past Imperfect". Discover the disturbing new trend of "stay-at-home daughters" in "House Proud," a feature by Gina McGalliard (accompanied by a beautiful paper-cut by Lorraine Nam). And get the scoop on Reality Bites Back, Jenn Pozner's new book on reality television's evil empire in the exclusive Q&A "Remote Control."
Don't forget--you can always sink your teeth into new and old articles from the Bitch magazine archives on our Articles page!
As if being a completely fictional model of unobtainable feminine domesticity weren't enough, Betty Crocker has sealed her fate as a Douchebag Decree recipient with the new PMS SOS iPhone app. Ladies, are you PMS-ing? Betty Crocker can help. By giving you coupons for brownies and tips for "crafting an apology." Oh, and there's a version for guys too!
A lot of complaints about MFA programs start with the assertion that writers should be "living," instead of going to school….If going to graduate school was supposed to provide me with some kind of injunction against "real life," against emergency phone calls from friends and family, physical and financial threats and challenges faced by people I love, money worries, racism, heartbreak, and the uncertainty of living in a world that seems constantly on the brink of large scale disaster, then the Iowa Writers' Workshop has some serious explaining to do, because I never got my exemption paperwork.
Evans doesn't spare the characters of her debut short story collection, Before You Suffocate Your Own Fool Self (Riverhead), from these problems either.
As 2010 draws to a close, it's the time of year that nonprofits ask for donations. Bitch Media is no different; we need ongoing financial support. Usually, we would ask you to make a gift after telling you why you should support us. However, Bitch Media is lucky. We don't need to tell you why Bitch is important because we can let our supporters tell their own stories. This week, Bitch supporter/subscriber/active community member TheBadassMuppet explains why she ♥s Bitch.
When my first-year college professor recommended Bitch magazine in 2004, I was skeptical. While the colloquial definition of "bitch" can be vague, it was a word which had been used to deflate me a number of times, by everyone from conservative family members to online creeps whose comments I had left unanswered. Still, the magazine attracted me. After all, I considered myself a feminist – the word reminded me of Dorothy Allison, characters played by Julia Stiles, and my ten-year-old indignation at a tennis instructor assuming I couldn't play—but I hadn't known feminist forums still existed, let alone an ongoing feminist publication.
Writer-director Spike Lee is a contentious figure, especially regarding gender politics. His debut feature, She's Gotta Have It, established this reputation by depicting rape as consensual between the polyamorist female lead and her vindictive partner, resulting in bell hooks' seminal essay, "Whose Pussy Is This?" In subsequent releases, Lee has been criticized as sexist, misogynistic, and homophobic in his constructions of relatively unformed, castrating women and the limited narrative arcs they traverse. Thus, many detractors may not think a movie of his could pass the Bechdel Test, much less have a complex black girl character at its center.
But the dancefloor has always done it for me. Doesn't matter much what kind of music. In my days as a spookyweird kid in New Orleans it was goth night and punk shows, doing the cobweb-pull (goth inside joke) or slamming into other bodies in the pit, wearing my bruises as a badge of honor. I'm mostly too old (or fragile!) for that at punk shows now but at age 30 still got myself a tattoo as a reminder, paraphrasing Emma Goldman's famous, possibly-apocryphal line "It's not my revolution if I can't dance to it."
During the campaign season we took a look at a few campaigns that actively used race and ethnic stereotypes as part of their strategy on the road to Washington, DC. There were undocumented workers slipping across poorly guarded borders to steal American jobs and infect the country with drug-related crime. We faced Islamic terrorists who flaunted their hatred of the US right in the face of Ground Zero. The President himself was often a target, being caricatured as everyone from Che Guevara to Adolf Hitler to a turban-wearing Muslim, to an extra from Amos and Andy. One week out from Election Day, how did they do? And does anyone out there think that using these tactics had any effect on who showed up to cast votes?
I'll tell you right off the bat that this post will focus at least a little on how much I like to look at pictures of the women who make up Warpaint. I have huge crushes on all of them. They wear pretty hats and dresses and scarves. PLUS they create dreamy rock music and they'll probably get really popular in the next year or two. Lovely women musicians on the brink of great renown? A whole bunch of the best traits for a band to have.
Are you tired of reality TV stereotypes like the Desperate Bachelorette, the Angry Black Woman, and the Douchebag Dude? If you said yes, then here's another question: Have you been watching Jenn Pozner's new web series Reality Rehab with Dr. Jenn? If not, you're missing out on some great media criticism (and some entertaining videos). Each episode of Reality Rehab interrogates a different reality television stereotype (good thing there are lots to choose from). Check out the trailer: