Author Archives: Cathy de la Cruz

Explaining the Mansplaining Statue Picture that Took Over the Internet

I’ve loved my last six months of interviewing feminist comedians and creative types for my monthly WEIRD SISTER “Funny Feminism” column, but have recently started to feel like I needed to take a break from the traditional profile or interview style I had grown accustomed to. I was wondering when I would feel inclined to just write exactly how I felt about feminism and comedy. Lucky for me, fate gave me this opportunity when an image I posted on Twitter went viral over the last few days.

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As I type this, my original Tweet has been reposted and liked 1,948 times and feminist-journalist-superstar Ann Friedman’s almost-immediate repost of my Tweet has been shared and liked 6,678 times. In the last 24 hours, The New York Times via Women In the World, The Huffington Post, Hello GigglesThe Daily Dot, Boing Boing, Bustle, Someecards and The Daily Edge have all published pieces on the phenomena of this Tweet I called, “Mansplaining: The Statue.” The Writing Center at Saint Mary’s University in Nova Scotia turned the Tweet’s image into a meme. The Tweet has been translated and reposted in various languages. People have started posting photos of themselves with the statues. Art critic Jerry Saltz appropriated the Tweet as his own joke on Twitter, which was then reposted by writer Rebecca Solnit whose essay (and later book by the same name), “Men Explain Things To Me” is often cited as the concept for the term “mansplaining.”

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Rah! Rah! Roundup

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Activism & Herstory

“We really felt like there needed to be a space that people could relate to that didn’t blame black people for conditions we didn’t create,” explains Garza in “Meet the Woman Behind #BlackLivesMatter”

Yes! Magazine

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FUNNY FEMINISM #5: Being Seen – An Interview with Heather Jewett

A monthly column, Funny Feminism features conversations with feminist-identifying artists who use humor in their creative work.

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I don’t actually remember how Heather Jewett and I met. Our introduction to each other could have been related to the riot grrrl movement, our many mutual friends or through simply living in Los Angeles at the same time. As a member of the now infamous queer electro-punk-pop band from the Bay Area, Gravy Train!!!!, Heather went by the name, ‘Chunx’ for eight years. Always a fan of Heather’s trailblazing honesty and fiercely feminist sense of humor, I clamored at the chance to interview her. Influenced by the campy and raw aesthetic of early John Waters films as much as she is by 80s and 90s blue-collar sitcom humor and by absurdist comedy, Heather Jewett is a force whose work cracks me up as much as it does inspire me to share my own voice with the world.

Photo credit: Tom Stratton

Photo credit: Tom Stratton

Equal pay shmequal shmay, I just wanna be able to eat bananas in public.

–Heather Jewett via Twitter

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Rah! Rah! Roundup

rahrahroundupMusic “When I didn’t appear in public, I wasn’t a recluse. I was just living my life.” Marine Girls’ and Everything But The Girl’s Tracey Thorn tells The Guardian.

Pixable via Gif allows us to see how many men and how few women will be playing at a music festival near you this Summer. Disappointing to say the least. 

Yoko Ono’s “Woman Power” is #18 on Billboard’s dance charts! Listen to it now.

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FUNNY FEMINISM #4: Missed Connections – An Interview with Aparna Nancherla

A monthly column, Funny Feminism features conversations with feminist-identifying artists who use humor in their creative work.

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Last month, I had the pleasure of interviewing one of my favorite comics, Aparna Nancherla on what happened to be the coldest day in New York history since 1950. We were mistaken for NYU students “doing their homework on a Friday night” while carrying out the below interview at Oro Bakery. The included quotes are taken from Aparna’s Twitter account.

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Photo by Doug Ault

 

“There needs to be an affirmative action program to get more white men in jail.”

ON COMEDIC BEGINNINGS

Cathy de la Cruz: I know you’ve mentioned this in your stand-up, the “I know you’re surprised I’m here, I’m surprised too.”

Aparna Nancherla: I started performing stand-up regularly 9-years ago. I got to stand-up a little bit in a more random way than a lot of other comics in that my friend was like, “Oh there’s this open mic near where we live that we should go check out,” just as like a free entertainment thing, not even to perform, but just to watch. We went one night during the summer and people were funny, but then there were people who weren’t as good, so we were like “This is something we could try” because we were both interested in humor. And I think that was my first access point to stand-up comedy. I didn’t grow up watching a lot of stand-up. I had seen it maybe once or twice on TV and I definitely didn’t think it was something that anyone could do. I came to stand-up from a direction of not knowing a lot about that world.

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Rah! Rah! Roundup

rahrahroundup“The truth is that we are all changing all the time to each other.” It’s not about the pronouns, the denotations, but about context. In the parable that Nelson names her work for, “all of the parts of the Argo can be changed so every part of the ship is no longer the original ship. And yet it’s still called the Argo, much like our bodies and selves are replacing all the time.” – Ariel Lewiton interviews Maggie Nelson for Guernica‘s “Boundaries of Gender” special issue.

“Reluctant to ‘identify’ themselves by any means or terms, categories such as you and I, top and bottom, sub and Dom, man and woman, student and teacher, straight and queer are played with, turned inside out, discarded in the hope of achieving some kind of mutual recognition in the cracks between.”  – Hestia Peppe critiques Kathy Acker & McKenzie Wark‘s I’m Very Into You over at Full Stop.

“Aardvarks and Zebras are great and all, but Angela Davis and Zora Neale Hurston are just so much better. And that’s exactly the education you get when you pick up Rad American Women A-Z, a new book written by Kate Schatz and illustrated by Miriam Klein Stahl.” – Chantal Strasburger for TeenVogue on “the coolest feminist children’s book.” Continue reading

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FUNNY FEMINISM #3: Laughing All the Way to the Museum – An Interview with Jill Dawsey

A monthly column, Funny Feminism features conversations with and about feminist-identifying artists who use humor in their creative work.

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Laugh-in: Art, Comedy, Performance explores the recent turn toward comedic performance in contemporary art. The exhibition features twenty artists who engage the strategies and themes of stand-up comedy as a means to rethink questions of artistic performativity, audience participation, and public speech.

—Jill Dawsey, Associate Curator, Museum of Contemporary Art San Diego

Recently, I had the opportunity to speak with Laugh-in’s curator, Jill Dawsey about the group exhibit and its feminist inclinations. The show opened at MCASD on January 23rd and runs through April 19th.

Cathy de la Cruz: Can you tell me about Laugh-in, and how the show relates to feminism and comedy?

Jill Dawsey: I’m pleased that you picked up on the feminist aspect of the show. The broader theme is artists who are thinking about stand-up comedy, borrowing from the strategies and aesthetics of stand-up. It has to do with a lot of things: questions of public speech and communication and finding audiences, and what can and can’t be said at this moment in time.

One of the larger threads that runs throughout the show is the way that comedy can create a space in which hierarchies can be inverted and power relations can be challenged. There are many women artists in the show and there’s a lot of explicitly feminist work.

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FUNNY FEMINISM #2: Failing, Falling and Jumping In – The Comedy of Sarah Adams

A monthly column, Funny Feminism features conversations with feminist-identifying artists who use humor in their creative work.

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It's Easy to Be Pro-Choice

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I’m a very busy lady. This lifetime I plan to do the work of 600 lifetimes. I don’t have a linear scope. It’s all mashed up in there together. I do everything at once. This is just the business of being Sarah Adams. And that is the work of high comedy. Mostly because I’m just a dork. Just accidentally funny because I’m falling down. And even though I look like a stylish babe, I’m really just an overgrown child fumbling around. So I have to primarily focus on that. Just feeding and bathing myself. Wiping my nose and making sure I have lunch money. With what little time is left over, I give people psychic readings, I sew clothes, I write a horoscope column, I emcee events, I’m active in city government, I’m a nearly professional coffee drinker, I give people tattoos, I make movies, I’m an activist, I run a fashion label with a retail location, I’m a really bitching DJ AND I do stand-up.”– Sarah Adams

33-year old Olympia, WA comedian Sarah Adams remembers her first stand-up performance very clearly. She performed with a PowerPoint presentation, which provided visual gags such as an image of a brick wall behind her. While Adams admits she’s “seen enough stand-up to know that there’s some weird shit out there—it’s a very generous art form,” the ubiquitous brick wall background helped mark what some might see as performance art as stand-up comedy.

At her first performance, Adams remembers hearing her name announced as she walked out to the stage and purposely falling down, using the struggle to literally stand up again as the icebreaker for her first stand-up routine. This part of the performance wasn’t planned, but occurred to Adams in the moment, like so much of her material still does. Continue reading

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ALL THE FEMINIST BOOKS: A Girl’s Guide to Taking Over the World edited by Karen Green and Tristan Taormino

We asked our regular contributors to write about the feminist books that they love—books that struck a chord, for one reason or another, books they couldn’t put down, that they’ll never donate, that are underlined and dog-eared and bookmarked eternally, that you can maybe borrow, but you most definitely have to give back. Here’s Cathy on A Girl’s Guide to Taking Over the World:

photo-181A feminist book that really affected me is A Girl’s Guide to Taking Over the World edited by Karen Green and Tristan Taormino, which came out in 1997, when I was 16. I lucked out by stumbling upon the book—an almost encyclopedia of riot grrrl zines—in my local Half Price Books in San Antonio, Texas. (The same bookstore also had a surplus of Kathy Acker books I would later find and then have my feminist literary world forever altered in the best possible way.) In 1997, riot grrrl zines were not new to me, but this book made zines and their authors the most accessible they had ever been, and made them seem legitimized in this funny way—here they were in a book I could buy at the store and check out from the library: “See mom and dad, the stuff that my pen-pals write IS getting taken seriously.” At the time, I was defending zine culture to my parents, who were worried I was getting brainwashed by queer punk feminist liberals (little did they know I was basically born a queer punk feminist liberal). I did not flaunt the book to my parents, who actually would have been scandalized by some of its confessionally honest contents, but I knew if they confiscated it like they did some of my zines, I could just go check it out from the library and start reading all over again.

Riot grrrl zines changed my life, and I am still so glad this book collects many of the zines I was already reading and many that I had never heard of. A Girl’s Guide is organized by themes (e.g., Chapter 1: “friends secrets sex,” and Chapter 2: “body image health”) and features excerpts from zines such as Tammy Rae Carland’s I <3 Amy Carter, Witknee’s Alien, Lisa Crystal Carver‘s Rollerderby and many more. It begins with an introduction by Ann Magnuson and ends with addresses and prices for all the zines featured inside. If only all of those zines were still being made and I could send $1 and a few stamps to those addresses. If only.

To this day, my own writing and performance are greatly influenced by the raw and confessional voices that epitomized so many of the zines I used to read. I have always been fairly shy, and they encouraged me to just finally say what I needed to say. I appreciate both the urgency and permanence of so many zines in A Girl’s Guide. They were not Facebook statuses you could go back and delete, but at the same time they were often limited edition. Riot grrrl zines didn’t just teach me about feminism; they taught me about friendship and keeping in touch. I am forever grateful that being a feminist and being a good friend are rooted in the same place.

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FUNNY FEMINISM #1: Somewhere Between Skepticism and Enchantment – The Comedy of Babe Parker

A new monthly column, Funny Feminism features conversations with feminist-identifying artists who use humor in their creative work.

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“Horror movies make me glad
I’m a non-homeowner
I got rid of my dolls
I left my Prom early.”
                                                                                    –Babe Parker via Twitter

Babe Parker

Babe Parker met me on a street corner in New York City on a fall Friday night. She met me outside because she didn’t think I would be able to find her place amongst her neighborhood’s hyphenated addresses and besides, she’s “squatting in a Verizon store anyway,” the 29-year-old Texan native joked. Babe, like myself, grew up in a conservative town in Texas before moving to Los Angeles, where she was working as an actress before relocating to the East Coast. Continue reading

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