I've been feeling kinda stressed lately—and it shows with my BitchTapes mix. I collected a group of tracks about the external pressures we deal with day-to-day. You know, stuff like: Am I pretty enough? Tough enough? Smart enough? and on and on. The genres I've chosen are each so different, but the themes all come back to same stuff we all deal with at some point in our lives. Have a listen:
There is an article by Linda Hirshman on Slate's women-centric XX Factor today entitled "Crazy Love, Crazy Choices" that deals with domestic violence. In it, Hirshman posits that present-day feminists are too easy on domestic violence victims because "the current love affair with understanding stops feminists from calling victims on taking responsibility for their own well-being."
Sarah Maple isn't afraid to be provocative or stir up a bit of controversy now and then. Born to parents of diverse cultural and religious backgrounds (her mother is a Muslim from Kenya and her father is a Christian from the U.K.), much of her work deals with her own identity. From Islam to race to gender and sex, Maple's works touch on everything you aren't supposed to talk about at dinner.
I have been struggling all morning trying to decide if your new video is worth blogging about. While I understand that you consider yourself to be a satirist from whose biting commentary no celebrity is safe, I personally find your methods of cultural critique to be boring, trite, and always misogynistic. For those readers who have not yet seen the video for your new song "We Made You," here it is:
American mainstream media has been a wee bit obsessed with the happiness of Denmark this past year. Since I'm an American currently living in the supposedly blissed-out Scandinavian paradise, I've been trying to uncover why this (somewhat incorrect) assumption has been made. Are Danes the happiest people in the world because they're simply more flexible when it comes to gender identity?
Why aren't the women doing better on the Sci Fi Network's new video-game competition reality series, WCG Ultimate Gamer? Gaming seems like something where women should be able to compete on fairly equal ground with men -- there's no real physical strength component to it; it's a fairly objective standard (numerical scores); and if a woman's interested in getting into it, there's no real historical barriers to entry. The show also seems to have gone out of its way to be gender-inclusive in the setup and in the editing -- so what's the deal? Is it sexism in the gaming industry, sexism in reality TV shows, or are women just not as comfortable in a purely competitive setting?
During the '08 campaign season, I cringed at comments made about former Republican vice presidential candidate Sarah Palin’s “hotness” and at the idea of the porno “Nailin’ Sarah Palin”--even though Palin's politics, her demeanor, and pretty much everything about her, made me throw up in my mouth a little. And to be sure, if Palin had become vice president, continued objectification of her and ongoing commentary about her of sexual nature would have bugged me to no end--even as I packed up and headed to Canada. And yet...
Today marks the long-awaited release of "Now We Can See," the fourth album from Portland's own The Thermals. The album was reviewed in the "Buzz" issue of Bitch, but as a huge fan of the band, I thought it deserved a bit of blog attention as well. Check out the video from their single, "Now We Can See"! It just came out today. I should warn you, though, it contains enough handclap-y happiness to last you all week long:
I love The Thermals, and what's not to love? They're an amazing band; they tackle a variety of important political issues in their catchy songs; they're super-fun live; they recently signed with the awesome, feminist, Kill Rock Stars; and they were nice enough to sit down for an interview with yours truly! (All that and I didn't even mention their extreme cuteness.) Read on for some of Kathy Foster's (bass) and Hutch Harris's (vocals, guitar) thoughts on the new album, and of course, feminism. Hooray!
When most people think of underground and alternative comics, Robert Crumb's Zap Comix or Art Spiegelman's and Bill Griffith's Raw may come to mind. But San Francisco was home to more than a few alternative cartoonists, and when women such as Trina Robbins found out what a boy's club the underground scene seemed to be, they took matters into their own hands and published a collectively edited women-only comic book.