Rah! Rah! Roundup!

rahrahroundupAs protests around police brutality continue in Baltimore, this Salon/Radical Faggot article breaks down why “smashing police cars” and rioting are “legitimate political strategy,” and how calling protesters and rioters “uncivilized” or unconstitutional is racist and hypocritical.

This Washington Post article discusses the disgusting and unsurprising celebration by mainstream media of a mother desperately striking her son who is protesting in Baltimore: “Beatings are not transformative. They don’t empower. They simply punish the victims and accelerate the trauma, bringing the pain from the streets into the home.”

Black Girl Dangerous discusses the glaring double standards in media treatment of trans POC vs. trans rich white people like Bruce Jenner. Continue reading

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WEIRD SISTER at the POETRY FOUNDATION

Marisa and I chatted about WEIRD SISTER over at the Poetry Foundation’s Harriet blog:

JT: What is a “weird sister”? How does one identify as or become a weird sister?

Marisa: I don’t think of a weird sister as a set or limited identity so much as a name that has a lot of literary, glittery, magic, strange, dark, dazzling and otherworldly connotations. A weird sister can be a witch, it can be a feminist, it can be someone who feels a little out of place or a little extra-awesome in her family or her community or the world…

Check out the full interview here…

 

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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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I Was Somebody: My Weekend with Miranda July’s App

When I first heard about artist and filmmaker Miranda July‘s Somebody app (an extremely buggy version for the iPhone debuted last fall) I was pretty skeptical. I was like, ” Okay, Miranda July invented an app that makes strangers talk to each other? Whoop-de-do, it’s like poop-back-and-forth 2.0, how quirky.”

But, like, who am I kidding, I love quirky. And I kind of love talking to strangers.

So when Becca, a Miranda July superfan, texted a bunch of our friends last week and told us to download the new, actually functional version of Somebody, I was like, “oh, too bad they don’t have an Android version. None of those hipster apps have an Android version.” And when Becca posted on Facebook in real time about her first “terrifying and thrilling” experience using Somebody, in which a strange man appeared on her block and started yelling her name, I was like, “that sounds insane, but I really wish they had an Android version.” And then I checked, and they did have an Android version, and I installed it. (Don’t worry, it worked out okay for Becca! Download episode 23 of Becca’s podcast The Real Housewives of Bohemia to hear the full story of her encounter with Somebody.)

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Indie Artist Spotlight: Rachel Eckroth

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If you’re like me when it comes to music, then it’s likely that you’re constantly scouring the internet for exciting and unheard-of musical gems. I get especially hype when I come across women who play actual live instruments and play them well. Rachel Eckroth is undoubtedly one of these jewel artists who allow me to happily revel in indie girl coolness. Although you may not have heard of Rachel, you may have seen her. She is a member of the all-female house band on The Meredith Vieira Show on NBC. She gigs with her band relatively often but can also be found working as a side-woman playing piano or keyboard and singing across a range of genres.

One of my most memorable encounters with Rachel was on a winter evening in 2013. I packed into a tiny room to hear Rachel’s six-piece band perform as part of the Capricorn Music Festival in New York City. The room of about thirty or so musicians and fans received a steady flow of music that sampled a panoply of jazz-infused colors. As the group performed, the room pulsated with nodding heads entranced by the groove. That night, they performed Eckroth’s original tune, “More Beautiful Than That.” When they hit the bridge, I looked around the room—not a single body was still. Her music has a distinct charge. It’s a sonic road-trip, one that will take you places if you decide to let it. As she glided through changes on her keyboard, I remember thinking Damn, she can play.

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Rah! Rah! Roundup

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“Don’t you hate when editors use the ‘I don’t know enough writers of color’ excuse to back up the homogeneity of their publications?” Now you can add your info to a working list of writers of color.

“We live in a prose culture, a film culture, a media culture, but I think we should live in a poetry culture; and I want to steal everything back, from everywhere, and put it back in poetry; that is my ambition.” Watch or listen to Alice Notley in conversation with erica kaufman last week at the CUNY Graduate Center.

“But the worst part was that it put the squeeze on all of us who were caught in the middle: women of color and trans folks, lefties, feminists, and radicals who had very deep reservations about call-out culture, purity politics, and the veneration of rage in activist circles.” – Katherine Cross writes about call-out culture and “tone policing” in online activism for Feministing.

“As a perpetual outsider, in virtue of my brown immigrant body, my accent, mannerisms, and the assumptions about my affinities and motivations, I have encountered what are termed as microaggressions both within the classroom and in context of presenting my research.” – Professor Saba Fatima on being a woman of color in academia. Continue reading

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The Day Before Thanksgiving I Got an Abortion

Dear Jacob,

I just want you to know that I don’t want to hear from you. I don’t want you to try to prove your worth to me as a friend, because you already have. I wish things could have been different, but I need to move forward from everything that happened. You really have no idea how hard it was for me to get pregnant in the middle of my semester and to have to keep my abortion secret, to keep everything a secret because I was basically protecting your reputation. I wish you could have gone through that with me in a substantial way. It would have helped so much.

Please, if you care about me at all, do not respond to this email, and please don’t try to communicate with me again in any way. That’s what I need from you. If you want your books back you can ask Ken or Aaron or someone to ask me for them. I don’t want to hear from you.

 I truly wish you the best. Continue reading

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The Zack Morris Cell Phone Aesthetic

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I was thinking about the aesthetic Marisa and I invented, the Zack Morris Cell Phone aesthetic, and I guess it’s in the same family as the Lisa Frank Sticker, Hello Kitty Lunchbox, Which Baby-Sitters-Club Character Are You aesthetic (which are part, but not all, of the Gurlesque aesthetic), but in lots of ways it’s the opposite. Because it’s fun to put stickers and songs in your poems—there’s a pleasure in the nostalgia and in the flipping-off of those who want to police the pop out of poetry (say it like “police the fuck out of poetry”), but the Zack Morris Cell Phone aesthetic has to be slightly embarrassing. Like that feeling you get when you see a giant cell phone or a boxy computer monitor on an old TV show. Like, you’re trying to pay attention to the story but you can’t, because god that thing is so big, uhhhhhhh…. It is pure spectacle, that thing that freezes narrative. But it wasn’t distracting at the time: that was just how life looked then. For most of human history we don’t have tons and tons of examples of how life looked so now that they’ve started to pile up and life has started to look so different so fast it’s kind of mortifying. Like your mom did something humiliating but “culture” = your mom. “Your mama’s cell phone is so big….” To get this kind of feeling into your poetry you’re going to have to dig out not just the memorable kitsch but the toys you never told anyone you played with. Your secret collections. Maybe that bag of troll dolls with their hair cut off you found in a closet at your mom’s could count, but that might be too cool. To achieve the Zack Morris Cell Phone aesthetic you can’t be a complicit consumer in a winky way, it has to be something you’d prefer to never tell. Is this just Confession all over again, but with more stuff? (And what would it mean to want it more than wanting to stand in line outside the store to get the six, seven, eight, nine, ten…?) What it offers for nostalgists like you and me is the reminder that the past isn’t always cute, but also full of space junk. And we play Kick the Can in the landfill of our own obsolescence.

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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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Songs My Toddler Likes, Ranked According to Feminism

My daughter just turned 20 months old, and she’s really starting to take control of her musical destiny: while we picked out the music she listened to when she was a baby, now she has her own preferences and can demand we sing or play the same songs over and over again. And she’s verbal enough now that she can actually sing along! As feminist parents, of course, we recognize that most traditional children’s music is a tool of the patriarchy, intended to mold pliant young minds into lovers of the status quo. But as helpless thralls of our adorable child, we make no effort to discourage her from singing the songs she loves. Still, why not rank the songs our daughter loves best from Least to Most Feminist? Here’s a somewhat arbitrarily-chosen list that includes most of her favorites.
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