Fresh off the harddrive, this episode of Bitch Radio features women from the Make-Believe issue of Bitch! If you're into women who make pop-culture collage art (say, Sonja Ahlers, author/artist of The Selves), who make it in Hollywood sans plastic surgery or selling out (I'm talking about the hilarious Jamie Denbo of Ronna and Beverly, Weeds, and Best Buds), who document the riot grrl movement (maybe Sara Marcus, author of Girls to the Front), or who use what most people consider a nerdy pastime for social change (like LARPing expert and player Sarah Bowman), then you should not miss this podcast! Plus it features music from Twin Sister, whose latest EP, Color Your Life is available from Infinite Beat records and they are currently on tour with the Morning Benders. .
Stream it below, subscribe on iTunes or RSS, or download at archive.org. Transcription available here (.doc). (Thank you, Katie!) Script after the jump.
Along with the rest of the ladycentric internet this week (including Bitch), I've been following the kerfuffle over Maura Kelly's post at Marie Claire about how disgusted she is by fat people. The post, ostensibly, is about the television show Mike & Molly, which is a romantic sitcom about a couple that meets in an Overeaters Anonymous meeting. The creator of the show has already fired back, noting that Molly will perhaps cancel her subscription to the magazine in an upcoming episode, and making the point we've all been thinking: the show "is just about human beings."
As to the merits Mike & Molly particularly, I have only this to say: I watched a couple of episodes at the beginning of the season, thinking I might cover it for the blog, but ultimately the show itself is very bad, and very bad shows don't tend to provide me with much meat for critique. So I let it go.
As many of you know, we've been hosting Mad World here on the Bitch blogs (and around town) since March, and we've had a great time discussing advertising, gender, and identity as a part of this series. However, as Johnny so eloquently said to Pony Boy, "nothing gold can stay." (OK, so he was quoting Robert Frost, but the cuteness of the young Ralph Macchio means we're going with the remediated version.) Our Mad World series is coming to a close, but that doesn't mean we're going to stop with analyzing ads. We'd never do that—it's our mission to bring you a feminist response to pop culture!
By the end (I'm hoping not for good, but for now, anyway) of Sleater-Kinney Corin Tucker's voice was a finely honed weapon, full of deep, slow, sexy soul and capable of an earsplitting wail, a bonechilling snarl, a rock'n'roll howl that didn't so much as defy gender as rip the guts straight out of it.
Her new record, 1,000 Years puts that voice front and center, without the thrash that made The Woods so threatening at the time.
Last night, observing that Joy Behar had said Sharron Angle was going to hell, Stephen Colbert joked, "I hadn't realized [Angle] would be on The View." Readers, I laughed. Indeed, I'm kind of surprised that I've gone this long writing about television from a feminist perspective without directly addressing the national embarrassment that is The View.
In many ways, on paper, The View appears to be the platonic ideal of feminism in media: it turns the microphone over to women exclusively, just like we've always wanted, right? Women talking to women about issues of importance to women: what could be more feminist than that? That claim to fame is bolstered by The View's excellent ratings for its time slot, and its cred even led it to land a coveted interview with President Obama this summer. (Question one: "Have you ever watched us?") And it's now, officially, spawned an imitator at CBS called The Talk.