This 200th mixtape is a return to lo-fi roots. Stick Shift Records, a DIY feminist punk record label run by two ladies out of their apartment in Burlington, VT, curated this compilation of bands from all over the world. It's sort of a compilation of B-sides from bands whose albums Stick Shift has released, featuring a range of punk rock styles.
I walked into Other Music in New York's East Village, and asked the bearded, plaid-ed clerk, hoping he had the iconic music zine's 17th print edition in stock.
His Beardedness pointed me to a shelf with several other too-cool-for-school publications, and there it was: in all of its horizontal, blue, Grass Widow-covered glory, "legendary indie nerd bible" chickfactor.
One fateful evening in a kitchen in Brooklyn in the winter of 2008, I stood leaning on a window, freezing air seeping into the sweaty room. A woman emerged from the bathroom wearing a modest black dress with a white collar. In the smallest voice, she said, "We're Screaming Females and we're from New Jersey." My eyes lit up.
Cristy C. Road, a Miami-raised, Brooklyn-based, Cuban-American illustrator, writer, and of course, total dreamboat, is no stranger to DIY, punk, queer, zine, and activist communities all over the place, and certainly no stranger to the pages of Bitch magazine. You might recognize her work from covers of books such as We Don't Need Another Waveand The Revolution Starts at Home, or maybe you've caught her on tour with Sister Spit The Next Generation when they rolled through your town, or perhaps you've flipped through an issue or two of Green Zine, or you stole your ex's copy of Bad Habits, or you saw her band play in someone's basement, or maybe you've never heard of her at all, but basically, she's a big deal, not to mention a badass. This is what happened when I sat down for a chat with her on a sunny Friday morning, pajamas on, and breakfast in hand. Cristy shared her feelings about everything from her art, to astrology, to racial dynamics in radical communities, to cats and brunch. It's all here for you to read, so let's get started!
No matter what you celebrate this time of year, chances are you're going to need to buy a gift for someone, and that's where our "Bitch in a Box" series comes in! Between now and the end of the month, we (Bitch HQ staff and interns) will be taking turns writing themed gift guides designed to please even the scroogiest feminists on your shopping list. After the jump, my guide to making and gifting the ever-popular sock monkey.
In Make Your Place: Affordable, Sustainable Nesting Skills, Raleigh Briggs writes about how DIY activities that take place in the domestic sphere don't seem as legitimate as, say, bike repair. But after teaching a class on herbal first aid and natural housekeeping, she came to realize how important it is that natural housekeeping is taken seriously within the DIY community.
Most of us are taught that 'good' music is polished, without background noise or distortion. Popular culture embraces this kind of music. We're shown that if we want to succeed as musicians, we must aspire to make flawless music with the best equipment out there (meaning the most expensive, of course). Lo-fi music is awesome because it rejects this idea. It breaks convention. It's distorted and fuzzy, contains background noise and limited frequency response. Lo-fi doesn't give a shit about the rules.
We've all heard one of Audre Lorde's most famous lines: "The master's tools will never dismantle the master's house." Let's take a minute to apply this to the music industry. If the house we're talking about is the music industry, well, it's important to mention that it's long been dominated by privileged white males. The music industry was not built with most people in mind. So it's no wonder that riot grrrl and queercore began to reject the 'master's tools' (the expensive equipment, polished sound, the idea that conforming to an industry created without you in mind is something you should be doing). Lo-fi rejects the 'master's tools' and creates its own sound.
This mix is comprised of music made primarily by women. I don't mean to ignore the guys in the bands by calling this a "lo-fi ladies" mix; rather, I want to highlight lo-fi female-fronted music. Additionally, I can't say why these bands decided to make lo-fi music and I won't pretend to know each band's politics. While some of them definitely made the music as a statement against mainstream music/the man, others were probably just into the sound. Either way, this mix makes me feel like all I need to start a band is a $1 microphone and a couple of friends.