Talk about old school. In skating rinks around the nation, saucy dames are getting together and strapping on old-fashioned quad roller skates to jam, block, and pummel each other. The roller derby revival is on. More than two dozen leagues operate across the country, with an average of 30 to 40 active skaters each (some leagues even boast as many as 60), and many more are in the works.
Whether a music writer makes a living marshalling lyrical evidence for supposedly new trends or manufacturing arguments to shore up tired clichés—and whether you applaud women’s progress in the musical arena or not—one thing’s clear: Women in music, prevalent as they may be, are consistently positioned as an aberration or an exception. Even the phraseology is troublesome: "women in music," "women in rock," and the erstwhile "year of the woman" (thanks for the generosity, guys).
Esquire’s annual “Women We Love” feature gives with one hand and takes away with the other. Hidden behind the premise of honoring them, the article puts women firmly in their place by using the traditional patriarchal tool of male approval—rewarding certain traits in the female while disparaging others.
We here at Bitch are in thorough approval of the post-Pulp Fiction Travolta renaissance that has awarded our favorite 1980s cinematic cheese-king some new credibility. Back in our prepubescent days, we wished we could be Olivia Newton-John in Grease, J.T.’s disco-dancing partner in Saturday Night Fever, and Debra Winger in the god-awful Urban Cowboy. Do you have to ask why?