Love Sarah Haskins' hilarious critiques of media aimed at women? Check out comparably witty Bryan Safi's analysis of homosexuality and media in another infoMania segment aptly titled, That's Gay. In this one, Bryan examines gay and lesbian characters in TV commercials...
You see, if I was a guy, and I was sitting here with a cigarette in my hand, grabbing my crotch and talking about how I make music 'cause I love fast cars and fucking girls, you'd call me a rock star. But when I do it in my music and in my videos, because I'm a female, because I make pop music, you're judgmental, and you say that it is distracting. I'm just a rock star.
Are you also a feminist?
I'm not a feminist - I, I hail men, I love men. I celebrate American male culture, and beer, and bars and muscle cars...
Thea Lim at Racialicious started an open thread to revisit this spring's feud between Eminem, Mariah Carey, and her husband Nick Cannon. What seemed like another petty celebrity feud has turned ugly with Eminem's new single "The Warning," which features personal attacks on Mariah Carey that make his other misogynistic crap look tame...
Not to give you an excuse to expand your carbon footprint or anything, but did you know that every time you forget your cloth bags at the grocery store you're probably making use of a woman-invented product? That's right; the flat-bottomed paper bag was invented by none other than feministorical innovator Margaret E. Knight, seen here in sketch-drawing form (unless this is how people actually looked in the 19th century):
Image courtesy of the children's book Marvelous Mattie: How Margaret E. Knight Became An Inventor
Though her life began as a child laborer in a cotton mill factory, Margaret Knight made a name for herself through engineering ingenuity. Read on for more!
After several years, a lot of script work and much trademark frenetic verbosity, writer/director Quentin Tarantino's long-awaited Inglourious Basterds – his "bunch of guys on a mission" film set during the Second World War – finally premieres on the 21st of this month.
With a nearly all-male cast it's arguably a return to the tough-guy roots of his earlier movies Reservoir Dogs (1992) and Pulp Fiction (1994), where manly-men bantered over such topics as the meaning of Madonna's "Like a Virgin" and the global appeal of hamburgers – regardless of whether they're measured in imperial or metric units.
Though they often repeat the contradictions inherent in representations of women in Exploitation films, and thus come from already problematic source material, the kick-ass heroines of Jackie Brown (1991), Kill Bill (2003 & 2004), and Death Proof (2007) still show visceral examples of female power that women can get excited about.
So this week we'll take an in-depth look at these characters and Tarantino's work, and hopefully have a discussion regarding the question: "Is Quentin Tarantino a feminist?"
It's not too late--get four redesigned issues of Bitch at the old price and support us directly by subscribing! In fact, if you subscribe by this Friday, you'll be entered in a drawing along with the rest of the Bitch 500 to win a free Bitch tote full of goodies, including Snarky Cards, a Flapper Girl coffee cozy, fiction by Alexandra Leggat and more! It's our way of saying thanks!
But we're not done yet--encourage your friends or family to subscribe (or buy them one yourself)! For those of you who say you love to buy Bitch on the newsstand, here's a little pop quiz for you: How many cents of every dollar you spend on an issue of Bitch at the bookstore or newsstand goes toward paying expenses like our staff, writers, and rent?
Is it: A) 90 cents B) 75 cents C) 15 cents D) less than 1 cent
If you guessed "D," you're right.
Depressing but true: After paying for printing, postage, and distribution, Bitch gets less than 7 cents for each issue we send to stores. That's just $.009 of each dollar you spend.
Lots of you have told us you love to support Bitch by buying it at your favorite local bookstore or magazine shop. And as much as we love that you support independent book and magazine sellers, the fact of the matter is that buying your magazine at the store benefits the newsstand industry much more than it does Bitch.
But! If you subscribe to Bitch, almost all your money goes directly to pay for the production of your favorite magazine. No middle people, no random surcharges. And what that means is a better-funded magazine with a stronger future. More subscribers today means more issues of Bitch in the future.
And that's why we're coming to you today — to ask you to join the Bitch 500. As many of you know, Bitch is relaunching this September with an awesome revamped design, great new features, and lots more to come over the next year. We're also raising our subscription price from $19.95 for four issues to $24.95. But before we do that, we're striving to snag 500 new subscribers at the old price. Subscribe or renew your existing subscription by August 17, and you'll get a year of the new, improved Bitch at the old, wallet-friendly price.
It's a deal, right? Right! So don't just subscribe for yourself — tell a friend. Tell two friends. Tell all the friends you've got.
"Rave On" is the Page Turner series that asks feminist writers, artists, musicians, activists, leaders, and scholars to talk about a book that completely rocked their world. Today we feature media activist and writer Anne Elizabeth Moore on the Dirty Plotte comic books by Julie Doucet.
I don't spend a lot of time reading feminist theory, which speaks to an inherently limited audience. I study anti-oppression strategies in general, so most of what I've read that's influenced my drive as a political person who identifies as female isn't overtly feminist.
In fact, I find far more use in work that's not usually discussed in a feminist context, like Freire's Pedagogy of the Oppressed. Or books that sort of rail against feminist projects or events and address its weak points, so I can sort out where those sit with me. Like Norma McCorvey's I Am Roe.
But if I really think about something I read that made me gack with identification—that spoke to me in a pretty deep way about being a girl in the kind of world I was living in—it would have to be Julie Doucet's Dirty Plotte comic books.